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Full text of "Roland TR-626 Owner's Manual"

^Roland 



HMI RHYXHM CDMROSER 



I It ni I— J 



Owner's Manual 



Roland 



FlHYTHfJl CarylPQStER 



TR-Bes 




ij «U_J 




A 
A 



The lightning ftaSi wifti anowfiaaa syirtoi, wrtiiinan equitatersl 
irianglB, Is inlanded ro Mn ttie user lo ois presence of un- 
insuiatad "dangenius viMsge' tinthln the proQuct's endosurs 
that may be □( siifidenl magnitude to consHluta a risk at 
alectric shoe* Ic persons. 

The exdamation point wHUin an aquiiaterai Wangle is hlanOwJ 
to ^eri the user to itw presence of iiTponanl opernVng and 
marntenancB Iswvtcing) Inalruclians >n Itie ierature accom- 
pan^ng the product. 



jINSTHUCTIONS PERTAINING TO A RISK OF RRE, ElECTRiC SHOCK OR INJUHY TO PERSONS. | 

IMPORTANT SAFETY INSTRUCTIONS 

WARNil^ Wtien u^g slactiic prcduds, basic precau- 
tions stupid always be tollowed. rnt^ucSng 
Hie tolbwing; 



1 . Read all tlw instructions before using the pradt^. 

Z. To reduce the rl^ of In^ry, dose si^ietvision Ie 
necBSseiy when a [u^uct is used near chikJren. 

3. Do not use this pfodud near water- tor exanpls, 
near B t»thtub. wasMxiwl, kftcnen sink, in a wei 
Daaamail, or naai a swimmmg pool, or tfie Hke. 

4. Tttis product should be used only wild a can or 
stand ^ai is r ecommendad tiy the manutactUFS. 

5. "Riis produci, eiltier akine or in con^nation wiHi an 
Binplifier and haat^hones ar speakera, may be 
capabie of producing sound levels tl-,ai could cause 
pennsnent tiearing loss. 

Do net opatale (or a tong penod ol time ai a liigh 
volume levet oi a! level ttiat Is uncomtonade, l( you 
e'psrier.ce any tearing toss or ringing in the tars, 
yo'j sficiiW cQn'.urt an audiologisl, 

6. Tfie prodijct shj-Jd bs lo^alad so Ihat ils l-jcaliun ci 
pDsiticii d-ries ntii inlerfMte v/iih ils prt^-er ventilalicn, 

7 The pjcducl stKuid he iocelad away frurn heel 
sources such as radialots, heat regislets or oitief 
pfDducls 9iBt produce heal, 

B. Vie produci should avoid using in where il may be 
eflected by dust. 

9, The product should be cannaQad 10 a power surety 
only ol \t\e type desciitied h the apet^ing insouc- 
tlons or as marked on the product. 



10. The powaf-supply con3 cJ the pit>duc( should be 
unplugged Irom the outlet when left unused tor a 
long period of Sme. 

11. Do not tread on the power-supply cord. 

12. Do not pull the cord but hold ihs plug when 
unplugging. 

13. Wtwi setting up with any other instruments, the 
procecfctfB Should be foltowed In accordance wilh 
mstnjcikni manual. 

14. Care shouKl be i^en so that objacts do not fall and 
Uquids are not sf^led into ttie endosura through 
opaninga. 

15. Tne ptoducl should oe ser/iced by qualified service 
psfscnnel when. 

A: TtiH power-supply cord or the plug has tieen 

damaged; or 
B: C*jec!a have lansn, or liquiti lias bean spilled 

Itito the piodur:;; or 
C; Ttis pro^ud hss teen 6?iX)sert lo rain: or 
D: Tiie product does nol apfissi lo opsrsle 

ntjrfnally c inhibits a n'.srked cfiar^g* iri psrior- 

nifiCiCe: or 
E. TtieprodudhasbGefidropced, ortheenctosura 

damaged. 

16. Do not Bltempi to service Ihe product Ceyond that 
described In ttie usBr-mainienance instmctions AN 
other servicing should be referred lo qualified service 
personnel. 



SAVE THESE INSTRUCTIONS 



ADVAR5EL! 

LitfHuntatteri, Eksf^osimsfare. 

Udsklftning mS kun foretages af an sagk^g, 

og som beskrevet i serviramanual, 



VARNING ! 

Uthiumbatteri. Explosionsrish. 

Far endast bytas av behOrig servicstekniksr. 

Se instniktionef i serviremanualea 



ADVARSEL! 

LitWufrtattffi. Fare for eksi^otiwi. 

Ma bare skiftes av kvalllisart tekniker som 

beskrevet i servicemanyalen. 



VAROITUS! 

Lithiumpadsto. Rajahdysvaara. 
Pariston saa vaihtaa ainoastaan 
alan ammottimies. 



WARNING 

THIS APPARATUS MUST BE EARTH GROUNDED. 



The tfirae conductors of the mains 
lead attacheid to This apparatus are 
identified with color as Shown in the 
cable bebw. together with the 
matching terminal on the UK type 
power plug. When connecting the 
rnains lead lo a plug, be sure to 
connaci each conductor to Ihe cci- 
rsci tsrminei, as inciicatiad 
"This instruction applies to (he 
product far United Kinadoin." 



riMINS LEADS 


PLUG 


Condueiof 


Color 


Mark on the mati;hir\g iifminal 


Live 


Brown 


Red or letter L 


Nei;lrBl 


Slue 


Black 01 leti«r N 


Gtouiirfing 


G'ssn- 
Vsllo-v 


Gresn, Green-Voilovj, larter E 



Bejcheinigung det Heritalieri /Importeun 
Hlermii wiiO beici^eLnigi. diZ dii/dii/dii 

ROLAND RHYTHIw! COMPOSER Tfi-626 



in Ubirainii'minung inii den Siitimmuiii^n Osr 

Amtsbl- Vfg 1046 / 1984 



funk^ermb't iit 

Dri Dmuchtn Bundelpoii wu'de dii tnuerhBhrtiflngcn diats Gtotti 
■ngcciigl und (ti( B«>chtigung zur UDcrptiilung dtr Sbcii lul Emhaltung 
der Bwiimmungen tin9»r>ui«. 

Roland Corporaiion Osaka / Japan 



RADIO AND TELEVISION INTERFEREHCE 

■I □iH'Vian t*wA 
rno TV 'KaptiDn ' 



I SuQuart J, ai Fan ' 



□iH'Vian t*wA lawT'Cmniltt at rMin--*f>i'*a I 



I in i 



oabgiHKi la 0rD*iir« 



I iPtarttrtiSB lo 



'■■qukAEp ar<^itf. fun nei 
( f CE MhM Thrti fiMi tra 






Eirifl ma rU V tpDia 
Mort Rif ■gh'pf^Tnf 






t roilfr-HfJtB nanvlBl 



, fffMtti AHA bi aitHi"*w>M frr ikHmng 
Id CDT^aa Ifit rtHVlkrVnU ^ IM 

II ■ iimv If il«* itKfriA'Vfm ««■, f 



uXTkl Htfl irtisrfvinut 1 

K-hBt» Iran" t 



r m^iutl^ZliMti 



ITIW ■■. ■»<■*■ 



I raelap Mavif 



hravaviDmi, vik. mar <^i^ >>• 



I ttnmv CMtm- 



Please read the separate volume "MIDI", before reading this owners manual. 



Copyright © 1987 by ROUAND CORPORATION 

Ail rights reserved. No part of this publication may be reproduced in 
any form without the written permission of ROLAND CORPORATION . 



CONTENTS 

Pane! Description ■-■.■■-.... •■•■S 

Important — ■ ■ 5 

Outline of the TR-626 7 

Connections • — 8 

[T] Basic Operation - 9 

1. Checking the drum voices and 
the sounds output 9 

a. Manua! playing iO 

b. Playing the factory preset 13 

c. Adjusting individual 

drum voices 16 

■ LeveJ (sound volume) 
adjustment ■ 16 

■ Pitch (musical interval) 
adjustment 18 

2. A Brief Description 

of Rhythm Writing • ■ ■■ 20 

3 , P 1 d i' i n g and VV riling 

Rhytlim PaUx-rns 23 

a, P.hy thm pattern playing - 24 

b. Rhythm pattern writing 26 

■ Tap writing ■ 26 

■ Step writing 31 

4. Track Writing and Playing 35 

a. Track writing 35 

b. Track playing 41 

2] Applications ■ 42 

1. Functions to use while 

pattern writing ■ 42 

a. Copying rhythm patterns 42 

b. Setting the scale and last step -- 43 

c. Chaining rhythm patterns ■- ■ 47 

d. Block v;riting 48 

e.Fhim ■ 49 

f. Shuffle - 52 

2. Functions to use while 

track writing ■ ■ 54 

a. Delete ■ ■ • 54 

b.Insert ■ 56 

c. Copying bars 58 

d. Block writing •- • 60 

e.Last measure ■ -■ 60 

3. Functions to use while 
playing a track 

a. Continue start 61 

b.Continu* play ■ ■ ■ ■ ■ 61 

e.Last measure ■■ 61 

4. Miscellaneous function 52 

a. Designating a bar number 62 

b. Block play ■ * -63 



mStoring Rhythm Patterns in 

External Memory 64 

1. Memory card 64 

a.Changing banks 66 

b. Formatting memory cards 67 

c.Copying data between banks ■■■68 

2. Tape Memory 70 

a. Saving 70 

b. Verification 72 

c. Loading 74 

Si Other Useful Functions 75 

a.MuIti — out jack 73 

b.Trigger-out jack 75 

c.Start/Stop with a 
Pedal switch 76 

[5] MiD! 77 

1. Checking Hie MIDI Function 78 

2. Altering a MID! Finiction setting-- 79 
a. Using the TR-626 is to be 

used as a MiDi sound source-- 79 

■ Altering the reception 
channel 83 

■ Altering the OMNI mode 83 

■ Altering the key Number 

of each drum voice 84 

b.MIDI synchronized playing 85 

■ Altering the sync mode 87 

c. Playing MID! sound modules 

with the TR-626 89 

■ Altering transmission channels 
for individual sound modules -- 90 

d.MlDI exclusive messages 91 

(3] Tape SYNC 94 

1. Recording a synchronized signal ■■- 94 
2. Playing with a synchronized 

signal 95 

Before calling the Repaires 97 

Attachments 99 

Specifications ■■■• 105 



Q 

■q) 
C 
03 

CL 





> 




















je 










ni 










^- 










o 


















n 










fc 


















c 








III 


Rl 


«i 








Q. 


F 




J! 






3 














m 


e 












-J 


« 


11. 
























IB 




>- 




01 

■a 


n 


JC 


5- 


? 


^ 


•J 


je 


F 




o 


J3 




U 

(11 


E 


0) 
3 


3 


JJ 
























"i 


? 


? 






® 


@ 


e 


<i> 




o ^ 





Q 


(0 


IS 


u 


u 


u 


S 






?r 


^ 


3 


o 


>■ 


> 


c 






ai 




w 


01 


a 


V 


□1 


t 




Important 



installation 



• There may be interference if the TR-626 
is played near a neon or a fluorescent 
light. Should this occur, change Ihc position 
of the TR-626. 

• Do not play this unit where there is 
excessive heal or humidity or where 
it may be affected by direct sunlight 
or it may become dusty. 

Cleaning 

• When it becomes dusty, wipe it clean 
with a soft cloth dampened with a 
neutral detergent and then wipe it once 
more with a dry soft cloth. 



* Doint; 111 is operation cryses al! the cijt;i 
sUiri'd in ihc memory (cr. rhylhm paiicrn 
and Irack da la). Kvcry bcUing is iniliuli/fd 
10 ! Ii c \- a ! u c s .s cl a 1 1 h e factory ijc f o i r 
shipmcni. 

Memory Backup 

Batteries are used, not only for ordinar\ 
purposes but also to save stored data after 
the unit has been turned off. However. 
if the batteries arc worn out or not set 
properly in their box. the data will be 
lost after turning the power off. Even 
when an AC adapter is used, ballcrics 
must kept in the bntlcrv box. 



• Do not use solvents such as paint thinner 
lo clean the TR--626. 

Liquid crystal display 



Battery replacement 

• Always observe Ihc following concerning 
batteries. 



• The Display is best viewed from the 
from of the unit. 

• It should not be pushed forcibly or beaten. 
Initialization 

• After putting batteries into the TR-626 
as shown below in "Ballcry Replacement." 
the TR-626 must be initialized. Turn 
the machine off (Power Switch), then 
turn it back on while holding Mode Key 
and Pattern Group Key A down. 



' caus-oNW Tr\ CCE t 




Whi 



le holding j and j j down, turn on 



• Replace the batteries once a year not 
matter how infrctiucntiy the unit has 
.>ecn used. 

• .Alwa\'s replace all of the batteries. 

• Never include any used batteries with 
a group of new batteries. 
Similarly, never intiudc a different kind 
battery in a group of otherwise matching 
ones. 

• An old battery kept in the unit may 
leak battery fluid and damage the 
unit, it the unit is not to be used for 
long periods of time, please save the 
data on a tape or the optional memory 
card 'M-128D". then switch ihc unit 
off and remove the batteries. (Any 
problems or damage resulting from ieakcei 
battery fluid is not covered by the 
warranty'. } 

• Be sure lo place batteries correctly in 
place, matching polarities correctly, positive 
to positive and ncgatix'C lo nefiati\c. 



Battery replacement frequency 

• The service life of an ordinary ballcry 
is about sixteen hours. This wit! vary 
according to the uses to which the battery 
is put and the type of battery. Should 
the Tempo Indicator flash more feebly 
or the sound and/or the operation of 
the unit become unstable, replace the 
batteries immediately. 

AC adaptor 

• For AC operation be sure to use the 
BOSS AC ADAPTOR PSA- 120. 220 or 
240 depending on the voltage system 
in your country, and never use one Adaptor 
for two units simuUancously. 

Replacing batteries 

• When performance data has already been 

written and the batteries have to be 
replaced, the data can be completely saved 
if the batteries arc replaced within ten 
minutes. If this is not possible, we 
recommend thai the memory contents 
be saved onto an audio tape or a optional 
memory card.(M- !28D) 



C3) Remove the batteries from the battery 
box. and replace them with new ones, 
are to match their polarities correctly 
C+ to + and - to -). 




(4) Replace the battery cover. 




*1.5V CU3) X 6 batteries arc necessary. 

CD Make sure that the TR-626 is turned 
off. 



POWER 
OFF ON 



F O.I 



C2) Remove the battery cover found at 
the bottom of the unit. 




Outline of the TR-626 



■j!rThe TR-626 Rhythm Composer is a rhythm machine thai cmpioys 
digitally recorded drum voices allowing you to enjoy perfectly 
reproduced preset rhythm patterns or user- programmed rhythms. 

"iirlts 30 drum voices permit you to create a wide variety of basic 
drum sounds and latin percussions. In addition. 8 drum groups can 
be output from 8 Multi Out Jacks. 

iS:The pitch and the level (volume) can be independently set lor each 
drum voice. 

T^The large display window makes the operation easy to sec and 
understand. 

■^■You can program 6 Tracks (to a maximum of 999 bars) using 96 
rhythm patterns. 48 preset and 48 user-programmed. Realistic 
rhythms can be created by accenting each drum voice individually. 
with our 11am and shuffle effects. 

•^There are two methods for programming a rhythm pattern ; Step 
Writing in which we enter or load one Step at a time without 
worrying about tempo, and Tap Writing which is to program a 
rhythm by actually tapping the Instrument Keys in time with a 
metronome. 

•j!i-Playing with a memory card. M-128D. an option, can be treated 
exactly the same as the internal memory of the TR-626. Data can 
be instantaneously stored or accessed. A memory card increases the 
memory capacity 3 times. 

■£rThe tape interface function permits the storage and the access of 
data using a cassette tape. 

•jllrThis unit meets MIDI specifications permitting interfacing with other 
MIDI devices, it can be synchronized with them or be used as a 
rhythm sound source for them. Its Tape Sync Function can be used 
for multi- track recording in MTR (Mulli Track Recorder). 



Connections 



•■aiVlH OC *. B'Ml>n L "OtS «C« C"*SK ™ "it -•lOM MOTOMlDWrOM 9«UEW£SCMjW 



"" o o o o 



•a*y V'a*. 



® 



oooooaoo 



© 



Amplifier 



Oo 

O 



♦ t 



O 



Audio amplifier 



Baa 
a a a 
a a a 


B a a D a 

■ a a a a '— ' 
• a a a a 
•aaaa aao 



RA. Mixer 



oO 

O 




Basic Operation 



Tj Basic Operation 



1. Checking the drum voices and the sounds output 



The TR--626 stores 30 different drum voices including Latin 
percussions. 




Hand Clap 



Drums 



Cowbell and Tim bales 



Conga 



Drum Voice Group 



SNARE DRUM 1 (SDI) SNARE DRUM 2 (SD2) LOW TIMBALE CLTB) H( TtMBALE (HTB) 



CRASH CYMBAL CCCY) RiDE CYMBAL (RCY) CHINA CYMBAL (CHINA) CUP (CUP) 



LOW TOM 1 (LTD MiD TOM 1 (MTl) HI TOM 1 (HT1) OPEN HI CONGA COHCG) 
LOW TOM 2 CLT2) MID TOM 2 CMT2) HI TOM 2 (HT2) LOW CONGA CLCG) 



OPEN HI- HAT (OHH) CLOSED HI -HAT CCHH) 



RtM SHOT CR!M) SNARE DRUM 3 CSD3) 



BASS DRUM 1 (BD1) BASS DRUM 2 CBD2) 



HAND CLAP (HCP) CLAVES (CLAVES) MUTE HI CONGA CMHCG) SHAKER (SHAKER) 



COWBELL (CB) TAMBOURINE CTAMB) LOW AGOGO (LAG) HI AGOGO (HAG) 



*The drum voices belonging to the same voice group cannot be sounded simuiianeousiv. 
*What is written in ( ) is abbreviation of a drum voice. 



Basic Operation 



a. Manual playing 



Play the 30 drum voices that are preset in [he TR-626 to check that 
they sound as they shouid. 

Step 1 Turn the power on (Power Switch). 

The Display wilt display the following : 



SCALE 


J J J J 


PATTEBN 






• • 




• • 


• •[•i-Ll.l ] 1 


STEP 


1 


2 


aU 


5 e 


T 


8 


9 


l0|nll2iT3lMll!i|«i 


HSTKUMCNT 










9 






1 1 1 1 


turn 


nucii 


■auuac 


NTTtlM 


inoi 


1 
1 


t 
1 


1 
f 


c tH 


T1UCK Km 



Step 2 When the Main Keys (l to 16) are pressed, the sound described above 

the keys will be heard. If you press a key while holding the Accent Key 
down, the sound emitted will be accented. 



Hcitand 



^n*>*"CBB«" t r'l'^ScEs 




^ iargs"5ss5E«=;;s|,-s^ 



-Accent key 



Main key 



Each of the Main Keys 1 to U have been allocated 2 drum voices. 
These two voices' names arc written above each Main Key on the 
front panel. 

Selecting the upper or the lower voice is done in the following 
manner : 



10 



Basic Operaiion 



1) Block Switching 



To change all of the drum voices (rom upper lo lower or from lower 
to upper, while holding the Instrument Change Key down, press the 
Up Key to go to the upper voices, or press down the Down Key to 
go to the lower voices. 



■■ T-nM pn».>-c— w Tn-CEE 




MSTCHAMZ 



While 



holding I down, push i I ( or I I 



2) individual switching 



To change the drum voices individually from upper to lower or from 
lower lo upper, press the Main Key (1 to 14) that you would like 
to change while holding the Instrument Change Key down. 



(For swiiching The drum voice of Main key 10( 
While holding 



D 



down, push 



After changing some or ail of the Main Keys from the upper lo the 
lower voice or vice versa, the switch can be undone by repeating the 
operation. Figures that remain consEanlly lit are allocated to Lower 
drum voices. Figures that flash arc allocated to Upper drum voices. 

^Drurn Voicas that are allocated to the Main Keys can be switched in 
all of the modes. (See p.2t.) 

*Drum Voices can ba changed while playing the rhythm composer. 

=t:The drum voice chosen is retained in memorv after the power is turned 
off. 



11 



Basic Opfifation 



• Checking the drum voice currently allocated to each Main Key 



Pressing the Instrument Change Key wili display which drum voice is 
currcnlly aliocalcd lo each Main Kcv. 



INSTRUhSNT 
ACCEMT 


1 


2 


3 


4- 


■5 


6 


7 


8 


9 


■10- 


" 


12 


13 


14 


IS 


16 



When the number of the Main key is lit, the drum voice marked at 
the tower line above the key is used. The upper drum voice is used 
when the number is flashing. 



12 



Basic Operaiion 



b. Playing the Factory Preset 



The TR-626 has some preset data in its memory. U cnn be 
reproduced by carrying out the following procedure : 

Check 10 sec if the TR-626 is in TRACK PLAY mode and on Track 
1. 



BANK 


■mtcn 


MCASIME 


MTTERN 


/' IHODE \ 


1 
1 


f'T. 1 


c /V 


(TDACK PLAtj 

1 1 



If any other mode is shown, set the TR-626 to TRACK PLAY mode 
by pushing the Mode Key unti! it is. If Track 1 is not displayed. 
put the machine onto Track 1 by pressing Track Number Kcy.l (4) 




gfrnitlmmi jmnM. 3KL MM. jm.J tfi vBt^-.iSm tut i-Jm. 



-Mode key 

-Track number key 1 (4) 



Push the Start/Slop Key to begin playing. Pushing it again wii! slop 
the reproduction of the preset Rhythm. 




■II II I /on, ^K. £m .m. Up. -El. ufk aiji .^ 

. r ; ^^^^ ^^ ^^ ^^ ^^ 



Stan/Stop key 



13 



Basic Operation 



During the rcproduclion of the preset Rhythm, shows Ihe contents of 
the performance infoniintion. 



SCALE 


J J J J 


BITTERN 


• 




• 












|.|*l«l 




• 


STEP 


1 


2 


3 4 


5 


6 


7 


a 


9ll0(l 


!T2Jl3ll4il5Jw{ 


■MITKMCIIT 
ICCINT 










j 




9 








1 




uw 


mucii 


Mciura 


HTTIHI 


■iCOC 


1 
1 


1 
1 


8 


F 1 


imicii pua 



Panarn group and No. in play 



Pr«sem tiar No. 
Track No. in play 



The volume is adjusted with the Volume Control Knob. The tempo 
is adjusted with the Tempo Control Knob. 



slower 




, quicker 



lower . 




higher 



If you would like a numerical tempo value to be displayed, push the 
Tempo/Measure Key whiie holdins tfic Shift Key down. 



Baivid 



* d^^^otmi^ 1 i '1 B^^5 



i.-^- I('-l^, _-L-_ _-^ Q 



—^ 




While holding 



down, push I 



^ 




•CASUfffi 


IS 




TEMI>0 







Bar 



Tempo 



T4 



Basic Operation 



The Icmpo can be set within a range between 40 to 2-10. Ii is 
displayed as follows : 

40—140 Displays every numerical value increase of 2, 

(40. 42. 44 ) 

140 — 240 ■•••Displays every numerical value increase of 4. 
(140. 144. 148... ) 

Repealing this procedure will recover the original indication. 

3*: After emitting the final bar. the first bar will automatically be repeated. 

*Only Track 1 has data written on it prior to shipping the unit. No sound 
will be reproduced if one of Tracks 2 to 6 are chosen. 



15 



Basic Operaiion 



c. Adjusting individual drum voices 



The volume (icvcl) and Ihc pilch can be scl for each drum voice. 
Once set, this scUinR wili be rclaincd in memory even after the power 
has been turned off. 



Level (sound volume) adjustment 

Step 1 Press the Level Key. 



^ _ ^miii'r.iiii TW-BBBE 

^ .'■C .UL JK. lA dSm ui3. «.a i.J>. 'J^ '. 



■ Level key 



^ 



"I 

-/ 

LEVEL 



The Display will display LEVEL. Every drum voice's level is now 
adjustable. 

Step 2 Press whichever of the Main Keys (1 to 16) whose drum voice level 

you would like to adjust. 



^-ztr 



mts.\ 



'-'STT':!!^' 



^ 



Seiected drum voice 



INSTnUUENT 




/ 


















no- 














BANK 


THICK 






1 
1 


1 


,''"!■ 




-urreni level 




LE 


Hi 







The Display gives the number of the designnlcci Mnin Key and its 
prcsentK allocated drum voice level. 

If you would like to adjust the level of a drum voice currently not 
chosen for the designated Main Key. switch the Key's voice by 
pressing the Main Key agnin while holdinR the Instrument Change key 
down. 



16 



Basic Opetaiion 



Step 3 To increase the level, press the Up Key. To decrease the level, press 

the Down Key. 



Up key 
Down key 



>».VT.M IT1 r r a^ T W ' Elta i j 




; pWTjr=- a. -^ j.-^„ ..-r--; ,^- ^ 






D 



Volume increases 



I J ■■■ Volume decreases 



Drum voices sources can be set within a range bclwecn lo 5. (At 
0. no sound will be cmitlcd.) If the TR-625 is not in playing mode, 
this selling can be done while checking the volume with the Main 
Key. 

If you would like lo adjust the level of other drum voices, repent 
Steps 2 and 3. 

Step 4 Press the Level Key again to return to the condition before step 1 

procedure is taken. 

LEVEL will no longer be displayed. 

^HThe level can be adjusted in every mode (see p.21 ) except while writing 
an accent. 



17 



Basic Operation 

■ Pitch (musicai interval) adjustment 

Step 1 Press the Pitch Key while holding the Shift Kev down. 



While holding 




o 



n 
u 



The Display will display PITCH. The pilch can be set (or every drum 
voice. 

Step 2 Push the Main Keys whose drum voices' pitch you would like to 

adjust. 



.TTs-eeB 



^^^ 



I. .ar IS. .ijK. fa. ^fs- uOk a a. i 



^ 



-Seiecied drum voice 



INSTDUMCMT 


1 




/ 












1 




Ml 










UNH 


TRACK 










{'rf\ 




Current pilch 


■4 

prrcM 


-'-■■ 







The Display gives the Main Key Number and its pilch. (The pitch 
is set nl al the factory.) if you would like to adjust the pitch of 
the drum voice currently not chosen for the designated Main Key, 
swiich the Key's voice by pressing the Main Key while holding the 
Instrument Change Key down. 



18 



Basic OperaiJon 



Step 3 To heighten the pitch, press the Up Key. To lower the pitch, press 

the Down Key. 



I I - Piich goes up 



I ■■■ Pitch goes down 



The pitch of drum voices can be set between ~7 to +7. If the TR 
— 626 is not in playing mode, this setting can be done while checking 
the volume with the Main Key. 

If you would like to change other drum voices' pilches, repeat Steps 
2 and 3. 

Step 4 While pressing the Shift Key again, push the Pitch Key to return to 

the condition before Step 1 procedure taken. 

PITCH will no longer be displayed. 

*The pitch c«n be adjuiled in every mode (sae page 21) except while 
writing an accent. 

*The actual variable range of pitch in each drum voice differs from each 
other. Changing pitches of a voice may result In change of tone. 



(How to initialize the level and the pitch) 



To initialize the TR-626's level and pitch sellings to the \7ilucs set 
in the factory do ihe following : 

Make sure that the unit is turned off, then turn the unit on while 
holding the Level Key down. 



POWER 
While holding down, turn on '^'^ , "^ 



19 



Basic Operation 



2. A Brief Description of Rhythm Writing 



When writing the rhythm for a musical composiUon using the 
TR-626. the work can be largely divided into two areas: 

l)P«ttern writing which is to create a rhythm pattern for one bar. 

There arc two ways to write patterns. One is to manually play the 
TR-626 keeping lime with the metronome (Tap Writing), and the 
olhcr is set the time for each drum voice (Step Writing). 

2)Track Writing which is to write rhythm tracks for a composition 
by combining user — programmed and preset rhythm patterns. 



Patiarn writ* 



Tan write 



Step wriii 



OfiO'fi'l 
Rhyttim oaltarn 
(in one bar unit) 



PfBsel 
BKyihm oatiern 
On one bat unii) 



Rhythm tracli 

(one lune unn) 



20 



Basic Operation 



All of this work is done in the following Jive modes 



Track playPlavs one tune unit 



IWT7BW H.AV 



Pattern play -'Plays one bar unit 



TRACK wncTE 



Track write- -'Creates one tune unit playing data 



Step write- -Creates one bar unit playing data (1) 



Tap wrrte-'-Creates one bar unit playing data (2) 



The current mode is always shown in the Display. Execute the 
(ollowing steps shown on the next page lo switch the mode : 

41 It is impossible to change modes while rhythm is running. 



21 



Basic Oceraiion 



©Play mode (Track play/Pattern play) 

Every time the Mode Key is pushed, (he play mode swiSchcs 
between these two. 



HoUmd 


„ 


n'-->Maa.ii':,iini' TWBaS 

IL .JIU £& i£a> lAOa MJt -ki-. 


— mi 

mm ■■■■■ 


' 


^— 









MTTEIW «.** 



Push 



D 



O I 



TRACK W.AV 



©Writing mode (Track writing/Step writing/Tap writing) 

Every lime the Mode Key is pressed while the shift Key is being 
held down, the writing mode changes from one to another among 
these three. 



White holding 




down, push 



n 



O 





mao€ 


_ 


TRACK PLAV 


i 




Mooe 


STCP WRITE 


i 




MODE 


TAP WRITE 







22 



Basic Operaiion 



3. Playing and Writing Rhythm Patterns 



First off. a bar or bars of rhythm pattern should be wriucn. 
Although it is possibSc. of course, to write every rhythm oriKinnlh. it 
is usually easier and simpler to combine basic patterns already stored 
in the TR- 626's memory. Preset and user-programmed patterns can 
be combined to make new patterns. The rhythm pattern arc orKanizcd 
in six groups of A to F. There are sixteen rhythms memorized for 
each group. 



Pattern Number 





1 2 3 ■•• 14 15 16 


A 
B 
C 










Preset Rhythm 
I ^-^ 1 










D 
E 
F 










Original Rhythm 











Preset rhythms, which cannot be rewritten, are stored in pattern 
groups A, B, and C. It is possible to alter the level and the pilch of 
each drum voice. Your own rhythm patterns can be written in pattern 
groups D. E and F. 



23 



Basic Opetaiion 



a. Rhythm pattern playing 



Refer lo the Table of Preset Rhylhms found on p.99 when selecting 
a preset rhythm pattern. The booklet 'Preset Rhythm Scores" will 
also be helpful for this. 



Step 1 



Choose tho pattern play mode by pressing the Mode Key. 



push 



o 



PATTCRN PLAY 



Step 2 



Select the pattern group to play by pressing the Pattern Group Key. 



Pushing the left button chooses A or D : pushing the center button 
chooses B or E ; and pushing the right button chooses C or F. 
Pushing the left button alterpates between A and D ; pushing the 
center button alternates between B and E; pushing the right button 
alternates between C and F. 



Step 3 



Selecting the Pattern Number with the Main Keys (1 to 16) 



Pattern group key 






Main key 



^ 



'■' ii 



Partem group 



-Pattern number 



The Display gives the pattern group and the pattern number of the 
selected rhythm pattern. 



Step 4 



Press the Start/Stop Key. 



push 



24 



Basic Operation 



The setecled rhythm pattern ivill be played repcaledly. 

*Evan while playing, other rhythm patterns can be selected by following 
Steps 2 and 3. (A rhythm pattern correctly selected will be played 
starting from the beginning of the next her.) 

Step 5 Push the Start/'Stop button once again to stop playing the rhythm 

pattern. 



25 



Basic Operation 



b. Rhythm pattern writing 



[Tap Writing 



Pattern groups D, E. and F can be rewritten. 

Sixteen different rhythm patterns can be written into each palicrn 

group. 

Thus, it is possible to write 48 original rhythm pntterns. 

Writing a single bar of a rhythm is called pattern writing. There arc 
two melhods of patlern wriling. Step writing and Tap writing. Step 
writing sets the lime for the drum voices with the 16 Main Keys. 
It is useful when wriling rhythms for a score or just for a complicated 
composition. Tap writing is simpler, the composer simply taps the 
rhythm on the Main Iteys to the metronome. 

The following discussion assumes that a 4/4 beat is used, For 
explanations of writing different rhythm patterns at other beats, please 
refer to the nc.Nt section on Applications on p.42, 



Rhythm patterns written manually to a metronome. 

Step 1 Make sure that the TR-626 is not playing. 

Step 2 Enter the Tap Writing mode by pressing the Mode Key several times 

while holding the Shift Key down. 



Step 3 



With the Pattern Group Key select the D, E, and F pattern group. 



"UTTEw. crrxf 

A o a I c ' 

nnn 



*A. B. and C pattern group should not be selected. 



26 



Basic Operaiion 



Step 4 Whije holding the Pattern Clear Key down, push the Main Key (1 to 

16) for the pattern number whose previously written rhythm 
patterns you would like to erase and gain access to their, now open. 
memory space. 

(When Pattern No. 1 should be scleaed) 



While holding 




Step 5 



If you would like access lo Ihc previous pallcrn. to modify il in some 
manner, and not lo erase il, simpty press the relevant Main Key and 
do not press Ihe Patlern Clear Key. 

Alfocate the drum voices, if any. which you would like to program 
with the Main Keys (1 to 14). (See p.11.) 



Step 6 



Push the Start/Stop Key to begin playing. 



The Tempo Indicator will flash, ihc metronome (RIM SHOT) wii! 
sound at every beat, and Ihe head of each bar will be accented. If 
the mclronomc docs not make any sound, press the Instrument / 
Metronome Key. 



instrument /metronome key 







Holvid 


i 

WII Til iri'ji^'i'.'jw TRE5i!iD i 


:;,:r^:;-;:v:;-;;;;;;r;:;:T:i;;T- 


-~ ■-. 




. »wv" 


:?■, a -- ^-v-- <^ ^ 


'feir: " - 


■C ICK JK..ULintai2k.B.B ajK _._ 




F BP ^F ^F ^r TT ^T ^T TT 






! 



Pushing the Instrument /Metronome Ke>' 
metronome slop. 



again will make tiic 



27 



Basic Operation 



(Manual playing) 



CDWhile holding the Shift Key down, push the Manual Play Key. 



' v=- : y.-"- - — ---1.- 

bf 'Tim AA jtcmtju-i^^a. 



2^ 



While holding 



down, push I I 




©Tapping the Main Keys (1 to 16) wi!l make the drum voices 
assigned to the keys sound. You can tap the keys as a test to 
check the sound before writing a pattern to memory. 

©It is impossible at this time to write a played rhythm pattern to 
memory until you pushing the Manual Play Key while holding the 
Shift Key down. 

Step 7 When the Main Keys (1 to 16) are tapped, the drum voices allocated 

to them will emit sound and be written into the rhythm pattern 
according to the time at which they are tapped. Push the Main Keys 
(1 to 16) which you would like to work with, and keeping time with 
the metronome, write your rhythm pattern. Play this repeatedly until 
you have written a bar. 

* The written rhythm patterns can be erased by pressing the Main Key 
while holding the Pattern Clear Key down. 



While holding 



/When the rhythm pattern wnnen with the drum voice aHocaied to 
l^Main Key 10 shouid be erased 



Rotand 



-co -eiiii'ii T HGEaa 



"1 /iYv=- E -- _-v- 



■^■'^" "'' 'y*' "■ ri»» -*■*-!»- w^j^r-r 



— ■ *^ 



XATlft: Xil "i>*£ t.^ TCS-iiT 






:z 



I I down, hold 



^ 



28 



Basic Operauon 



Nexl. program accenled drum voices. If this is not desired, skip the 
following Steps and proceed Id Step 12. 



Step 8 



Push the Accent Key. 






Up key 
Down key 

-Accent key 



The Display gives the current accent level. 



f?(5) 



Current accent 



Step 9 Set the accent level higher or lower with the down and the up Keys. 

Press up Key ■••Accent is intensified 

Press down Key ■••Accent is reduced 

The accent can be assigned between -3 to +3. In ordinary tap 

writing, is done at accent level. 

Step to Push the Main Keys of the drum voice which you would like to 

accent. The accented sound wilt be programmed in time with the 
metronome. 

Repeal Steps 9 and 10 as often as desired to add accents where and 
how you wish. 

Step 1 1 Push the Accent Key again to return to ordinary tap writing mode. 

Step 12 After finishing writing, push the Start/Stop Key to stop playing the 

TR-626, 



29 



Basic Operation 



*T»p Written sounds are automaticatly lei to the timing that is 
programmad into the machine. The TR— 626 it programnned to a sixteen 
not* timing intarval. Any note written out of timing will be eutomaticallv 
rawritlen to the closest sixteenth note . ( Refer to p. 43 for an 
•xplanation of setting timing.) 

*To see the displav of a drum voice rhythm pattern that has been 
written to memory, push the Instrument /'Metronome Key, and without 
releasing it. push the Main Keys. In this way. the Step where the drum 
voice is written is verified. i 



(Indication of the rhythm panern of the drum voice allocated to Main Key 9) 



I rrocji Td 



"^"1 = '- -t-- --- 



While hoidtng 




LAST Ut^S 



o 













Written steps 












SCAIE 


J J / J \j 


PATTERN 








• 










• 








STEP 


1 


2 


[3. 


4 5 


6 


yje 


9 


idii 12 


13|l4il5 


16 


INSntUNEMT 
















(9! 















The drum voice of which above PATTERN 
is now displaying 



*Do not write the drum voices that belongs to the same voice group into 
the seme Step. (See page 9.) 

*lf the drum voice of the same group is written into the same Step, the 
later voice will take over the precedence end the first will be erased. 



30 



I Step Writing 



Basic Operation 



In Slcp Wriling, \vc wrilc the liming value for each of ihc drum voices 
with Ihe 16 Main Keys. We use this mcthoc! mniiil\- to wrilc rhylhm 
patterns for musical notes. 

*WiTh tha TR— 626. the rhythm and th« beat o'f s musical rtoie is 
•X pressed bs shown below. 



S!-°if iJl Jl Jl Jli o 



Ht-HAT 

SNARE DRUM Ih^ J ^ J 1 CO 



BASS DRUM 



,a 



U-i 



o 



SCALE 


J J J J 


MTTEBN 


•i (• 


• 




• 


!• 


• 


j« 


•! 


STEP 


1I2I3 


49 


6 


T 


sUioln 


1J!13 


wlisiiel 






SCALE 


J J J J ! 


MTTHW 








• 


1 1 


1 


•i i 


STEP 




3 


3 


4ls 


6 7 8 fl 


•nil 


MJlStM ISlW 






SCALE 


J J J J 


PATTERN 


















• 




•1 








STEP 




2 


3 


4 


5 6l7 


B 


«3(llil2fl3ll4)l5lwl 



Follow Steps 1 to 4 as in Tap Wriling, {except that Step WriSc mode 
should be selected in Step 2) then : 



Step 5 Press the Start/Stop Key to begin playing. 

Step 6 Allocate the drum voices to be written into the Main Key (1 to 14). 

(See p.11.) 

Step 7 Press the Main Key (1 to 16) while holding the Instrument/ 

Metronome Key down, choosing which drum voice to be written. 



(When OPEN HI-HAT should be selected) 



While holding 



4^3Ki"aiHi>« t rT'OCD 







X 



^^Nt«.*«4T 



down, push 



31 



Basic Operation 



Step 8 



The Main Keys (1 lo 16) function here as keys for dcsignaling Ihc 
Step of a rhylhm pallcrn. 

While looking at the display, press the Main Key (1 to 16) thet now 
designate the Step number at which you want the drum voice to 
sound. 



Dot 




SCALE 


L ---l/- 




PATTERN 










• 






r 






• 


i 






STEP 


1 


2 


3 


4 


5 


6 


7 8 


9 101l|l213|l4il516| 


INSTRUMENT 
















-9; 















A dot (•) in the Display indicates the designated Step. 

* Pushing the same ksy again cancels this designation. 

Repeat Steps 6 through 8 as many times as desired to program other 
drum voices. 



Step 9 



To accent drum voices carry out Steps 9 lo 13. If this is not desired. 
skip the following Steps and proceed to Step 14. 

Push the Accent Key, 



• TneSE 



ti-jj^ 



^31. JKT. em. JK. Xa. iSb i^Oc. 9L* iJ^ _a- 



o 



R 



-Accent key 



32 



Basic Operation 



Step 10 Press the Main Key while holding Instrument/Metronome Key down 

to select the drum voice where you would like to write accent. 

Step 11 Press the Main Keys (1 to 16) for the Steps to be accented. The 

numbers in the Display o* the Steps designated by the Main Key will 
flash and their currently set accent level will be displayed. In ordinary 
Step Writing the accent is set at 0. 




Curren! Value 

*lf no drum voice is assigned to the Steps designated in Step 11 the 
foNowing will be diiplayid to show that no accents hava been assigned. 



R - 



Step 12 Set the accent level higher or lower with the down and the up Keys. 

The accent can be assigned between —3 to +3. 

Repeal Steps 10 to 12 as often as desired to add accents to whatever 
drum voices you would like. 

Step 13 Push the Accent Key again to return to ordinary step writing mode. 



33 



Basic Operation 



Step 14 After finishing writing, push the Start/Stop Key to stop the 

TR-626 playing. 

^I^Do not program tha drum voices which belong to the tame voice group 
(sae p.9) into the same step. 

While playing a rhylhm patlcrn. you can change from Step Writing 
to Tap Writing or vice versa, by simply pressing Mode Key. So. if you 
make slakes in Tapwriuing. you can chang to the Step write mode 
and correct Ihe mistakes. Also, you can change to the Tap Wrile mode 
to add more voice lo the rhythm written in the Step write mode. 



34 



Basic Operation 



4. Track Writing and Playing 



A track is the combination of various rhythm patterns wriiicn in bars 
that utlimatclv make a tunc. 



a. Track writing 

Step 1 



With the TR-626, 6 tracks, roughiy equivalent to about 6 tunes, cnn 
be written. 



Push the Mode Key to put the TR-626 into track play mode. 



Step 2 Push the Track Number Key to choose the track (1 to 6) which 

you would like to use. 



AD B [ C ' 

DDD 



- Pushing the left button chooses 1 and 4 ; pushing the center button 
chooses 2 and 5. and pushing the right button chooses 3 and 6. 

• Pushing Ciich of these buttons again will atlcrnate between the two 
tracks : that is between 1 and 4. 2 and 5. and 3 and 6. 

The Dtspln\' wili give the number of the Irnck that has been scicclcd. 



(When track 1 was selected) 



Track No. 



TRACK 






. 





35 



Basic Operation 



Step 3 



Enter track writing mode by pressing the Mode Key while holding the 
Shift Kev down. 



TRACK wmiTE 



4:0nca B track has been chosen, it cannot be changed in the Track Write 
mode. 

Step 4 To erase data previously written on a track, push the Enter Key while 

holding the Track Clear Key down. 



While 



Roland 




*' jr .j» jm. j:*5ra,^-5.i«ji it.--, 

^^5b e? [ a . !^^ ^^ ^T !^r ^^^, 



holding I I down, push 



Step 5 H you would like to hear a rhythm pattern as you are writing in a 

track, push the Start/Stop Key, 

The rhythm pattern will be plnycd rcpcnlcdl>. 

Step 6 Choose the pattern group and the pattern number of the rhythm 

pattern which you would like to write (into the 1st bar) using the 
Pattern Group Key (A to F) and the Main Keys (1 to 16). 

Panern group 






Designate a partem No. 



^ 



'^3 



Panern group 



Pattern No, 



36 



Basic Operation 



Step 7 



The Display gives the pallern group and number chosen. 
Push the Enter Key. 



push 



The designated rhythm paUcrn is written into the Isl bar. The b.ir 
in the Display changes to 2. 

Repeat steps 6 and 7 for every bar you want to write. 

To play the track thai has just been written follow the instructions 
in "b. Track playing'on page 41. 

* Thare sra 999 bars that can written in the 6 tracks . When the 

foliowing message appears white writing tracks all 999 bars have been 

used. In order to write more new bars, it is necessary to erase some 
of the other tracks. 






^In track playing, one track is played repeatedly. If you want the track 
to end after playing once, you must write several empty bars after the 
final bar. Then, while the empTy bars are being played, push the Start 
/Stop Key. 



37 



Basic Operation 



►When BH incorrect rhythm pattern is written in a track in steps 6 end 7. it can be corrected as 
follows : 

Step 1 When the rhythm patterns are being played, press the Start/Stop 

Key to stop the unit. 

Step 2 Find the incorrect bar (s) in the Display with the Measure Back Key 

and the Measure Forward Key. 



Maasure back key 

Measure forward key 



mrm.r iLLi • L — I T w asn 



'msC JK. lUB. JB. xai. i<B- ■!&> mx • 



Step 3 



Measure Back Key •■■Goes one bar backward 

Measure Forward Key •■•Goes one bar forwnrd 

Select the correct rhythm pattern, then press the Enter Key. 

*To insert a new pattern between already written pattern, or to delete 
a pattern, please refer to p. 54 —57 in the section on AppHcations, 



38 



I Example of track writing : 



Basic Operation 



The best way to Icarn how lo write rhythm patterns from musical 
notes into a track is to work through an example. 



Bar numtjer 

^ A-l 

1 


1 


A- 1 


3 


A- 1 


J 


A - 


- \t 


^ A-, 


s 


A- 1 


T 


A- 1 


5 


A 


■ IS 












1 




1 



Execute steps 1 lo 5 of "a. Track writing" on page 35 then do the 
procedures shown on the next page : 



39 



Basic Operation 



Step 1 (n the music note example the first bar is A-l so push Pattern 

Group KeyA. then Main Kev 1. and then the Enter Key, Be sure to 
lollow this order.Then program pattern A-1. 



A C 

Push Q 



then 



<? 



MEASUnE 


MTTERN 


t' 


A 1 

1 



The bar number to be wrinen next 



Step 2 The second bar is also A-1, the same as the first, so push the Enter 

Key only. 



Push 



Step 3 The third bar is also A-1, so push the Enter Key again. 

Step 4 The fourth bar is A-14, so push Main Key 14. then the Enter Key. 



Push 



then 



<> 



MEASURE 


MTTEBU 


5 


' /S' 



Step 5 Continue in the same manner to write the 5th to the 8th bars. 

To piny the track jusl wriUcn cfirry out the instruciions found in 
'b. Track Pinyins" given on the next page. 



40 



b. Track playing 



Basic Operation 



Now, wc shall piny the complete tunc made up of rhythm patterns 
Ihal were created by track writing. 

Step 1 Press the Mode Key several times until the TR-626 is in Track 

Playing mode. 



Step 2 



Press the Track Number Key to select the track desired (1 to 6). 



A □ dl I c ' 

DDD 



The Display gives the number of the selected track. 



(When Track 2 is selected) 



Step 3 Push the Start/Stop Key to begin playing the chosen track. 



Push 



After the last bar has been played, it will automatically be reset !o 
the first bar and the paitcrn will be repeated. 



Step 4 



Press the Start/Stop Key to stop playing the track. 



41 



Appiicaiions 



2j Applications 



The foliowing functions will allow you lo more cffeclively and easily 
wrilc and play complicated rhythm patterns. 



1. Functions to use while pattern writing 



These functions arc usable when either lap or step writing rhythm 
patterns. 



a. Copying Rhythm Patterns 



User-programmed and preset rhythm patterns can be copied onto 
another pattern number. When there is an old rhythm pattern thai 
is similar lo one Ihat you would like to have il is often quicker and 
easier lo copy and then modify Ihc old pattern. 

Step 1 Check that the TR-626 is not playing. 

Step 2 Decide where you want the old pattern copied to end then select this 

pattern with the Pattern Group Keys (0. E, end F) and the Main 
Keys (1 to 16). 



Step 3 



Examples of nipying operation 

(Copying preset rhythm A-5 to D-1) 

nt Oesignation of the pattern group and 
No. fof the copy receiving side 



D 



Press and hold the Shift Key while alt of the following instructions 
are carried out in the order written here: press the Cppy Key (Main 
Key 11). then press the Pattern Group Key of the rhythm pattern 
that you would like to copy, then press the pattern number (Main 
Key 1 to 16), and lastly push the Enter Key. 

*Chained rhythm patterns (lee p.47) cannot to be copied. Only the pattern 
of the pressed Main Key can be copied. 



(2) Copying operation 



Rhythm pattern of the 
copy receiving unit. 



42 



D 



\7 







WITTEW 






CP<J 


D 1 




Rhythm Panern of tht 






MTTEfW 






[py 


• 5 




Hythm panern of the 






MTTEfW 








1 

1 





Applicaiions 



b. Setting the scale and last step 



The default setting is 4/4 lime, thai is sixteen notes per slcp. 
Therefore to program any other bent, it is necessary to reset the type 
of note per step (scale) and the number of steps, that is which will 
be the last step, for each pattern in order to write at 3/4 time or 
thirty-two notes per step or where triplet notes or other different 
rhythms are required. 



I Setting the scale (minimum note) 

One of the following four scales can be selected for each pattern ; 



SCALE 


J J J J 


PATTERN 


mmA 1 1 ! 1 1 { 1 1 1 1 1 



SixTeenih notes par step 



i 



SCALE 



J 



PKT^^Hmimmm: 



SCALE 



mttebnS 



m i i ^ i t ^ t i tTfi } 



ThJny-second noies par step 



Tnplet par step 



i 



SCALE 




i i i i i i f i 


PATTERN 


mmmA i i n 1 1 i n 



Sexiuplet per step J J J J J 



= J is equivaiem lo a quarter note 



Step 1 Check that the TR-626 is not playing. 

Step 2 Select the pettern group end number whose scale yo" want to 

change with the Pattern Group Keys (D. E. and F) and the Main Keys 

(1 to 16). 

Step 3 While looking et the scale indication on the Display, push the Scale 

Key several times to set the scale. 



Scale key 



nCslBnd 



TW-HiSE 



fg- -■ x^ 3C. JiM. -IK. Xnt Iflb wDr ■_« 1 



43 



Applications 



> Setting the last step, that is to set the length of a bar 

The last step can be set (or each pattern. 
Check that the TR-626 is not playing. 



Step 1 
Step 2 



Select the pattern group and number whose last step you would like 
to set with the Pattern Group Keys (D. E. and F) and the Main Keys 
(1 to 16). 



Step 3 While pressing the Last Step Key push the Main Keys (1 to 16) 

to set the step number. 

(Setting the last step at 1 2] 



.T?W5as 







While 



holding I | down, push 



When writinfi a 3/4 lime pattern on a sixteen note step, one bnr has 
12 steps. 



DflUM 1 



SNARE 
DRUM 1 



J1-^X± 



ci-OSED i/l D jn 



HI-HAT 



o 



Scale 
JS1 step 




1 

12 


step 


= 


> 




















SCALE 


J J J J 


MTTERN 


• 




• 






• 










•i 








STEP 


1 


3 


3 


* 


5 


e 


7 


B 


ti 


inn 


"1 












SCM.E 


J J J J 


WTTERN 




• 




• 








• 




j 






1 




STEP 


1 


2 


3 


* 


5 


fi 


7 


a 


B 


TOill 


12 




1 






SCALE 


J J J J 


PATTERN 


• 




e 




• 




• 


• 


• [ 


• 










STEP 


1 


9 


3 


* 


5 


e 


7 


ejs 


laii 


« 











44 



Applicaiions 



Jn a scale of eighth note triplets per step, three steps mnkcs a bcal. 
therefore a rhythm pattern at a 4/4 beat hns 12 steps. 



Scale : 1 siep = ^ 
Last stop :12 



(4/4 time using triplets) 

BASS I O O O f i'l 
DRUM 1 



SNARE iJ_ 
DRUM 1 f^ 



JJ iJth ^ 



SCALE 




_, 


;///;;•/;'/;/;;;; /I 


PATTERN 






•i 




•1 




•■ M* ! i 




STEP 


1 


2 


3i* 


9 


6!7 


B 


8 hail 111!. 1 1 





Rl-°i\° i j ^ J ^'J i'j A 



SCAU 




;;//;';///;;;;;// 


PATTERN 




• 




• 








•! !•'•' 1 


i 1 


STEP 


1 


2 


3 


4 


5i6!7)Bl9ttoiiiii2; 


t 1 






SCAU 




J-///;/;/;/;;;//; 


PATTERN 


• 




• 


• ^ 


• 


•1 !•{•' 


•' 1 


1 


STEP 


1 


2 


3 


4|5 


6{7lBlSI10illll2. t 


1 



In a scale of thirty -two notes per step. 8 steps make a bcal. 
Therefore, no more than two beats can be make with 16 steps. As 
a result of this, when a 4/4 lime rhythm pattern is to be made, as 
in the figure, two patterns are used for writing it and then a single 
rhythm pattern is made by chaining them together. (Sec p.47.) 



BASS 

DRUM 1 



SNARE (_2 
DRUM 1 



CLOSED 
HI-HAT 



mm 



> J I 

mm 



Scale :1 stBp= } 
Last step : 1 6 



Scale :1 step = ^ 
Last step iB 



SCAU 


J J 


+ 


SCAU J j J J 


PATTERN 


• 


1 1 










1 I* 








• 


PATTERN 










1 


1 


J 


i 1 


STEP 


1 


i;3|4 


5 


6 


T 


a 


oiialitliali3li4ii5iifi 


STEP h 


a 


3 


4 


S(6I7|B 




1 


1 1 



o 



SCALE 


J i 


PATTERN 














• 










1 1 


STEP 


1 


3 


3 


4 


5 


6 


7 


e 


9 


10 


n 


iiiislw ISilfi 



SCALE 


i J 


PATTERN 


• 


• 


• 


• 


• 








•'■ 




|.l 


! 


STEP 


1 


3 


3 


4 


5 


e 


7 


8 


9\m 


11 


ljtl3tU 


1Si16 



+ 



+ 



SCALE 


J J J J 


PATTERN 










• 






1 
















STEP 


2 


2 


3 


4 


S 


6 


7 


ej 








_ 




_ 





SCALE 


j J J i 


PATTERN 


• • 












t 






STEP 


1 


= 


3 


« 


5 


e 


^ 


si 








[ 


L_ 


!_ 



45 



Applications 



A rhythm patlcrn iikc this is made by dividing il into three p.ilicrns 
and later chaning ihcm. 



(When throe panems are necessary) 



jzun}0Md:> 



SCiU^ 


i i i i 


MTTERN!«i 




• 






• 


• 
















r 


STEP 


l|2 


3J 


4 


sje 


I 


S 



















-f 



SCJU^ 


/////;•;'/ 


MTTERN 






•!•!•' 




















STEP 


1 


3J3 


« 


? 


?t 





















+ 



SCALE 


J J J J 


MTTERN 


•!• 


• 












j 






j 


STEP 


1I2 


3 4l 






j 


J 


1 




.„ 


1 



Scale :1 s!ep= ,f 
last step :a 



Scale ; 1 step = ^ 
Last step :6 "■'' 



Scale :1 siep= } 
Last step :4 



46 



Afipiicaiions 



c. Chaining rhythm patterns 



The chaining function permits two or more rhythm patterns to be 
chained logcther so that they are played as one pattern. This (unction 
is very useful when one step has thirty — two notes or when the 
rhythm is variable or unusual, such as in quintuple time. The chained 
patterns are treated as one bar in track writing. 

Step 1 Check that the TR--626 is not playing. 

Step 2 Select the pattern group that contains the rhythm patterr»s you would 

like to link with the Pattern Group Keys (D. E, and F). 

Step 3 While pressing the Main Keys (1 to 16) of the first and the last 

pattern number that you want to join together, push the Enter Key. 
Only patterns having adjacent numbers can be chained. 



{Chaining panern numbers 9. 10, 11, and 12) 





















MTTERN 










1 










r-N 


CHAIN 


_ 




m 


^P 


^» 










icaN,t 


"-v 




Whiie holding 


'^\ and (J^ push 















CHAIN will appear in the Display. 

If you Inter want lo break the chain, press the Enter Key while 
pressing the pallcrn number where you would like to separate the 
chain. 

* After a chain is split, two smaller chains will be formed in each half. 
if there are two or more patterns in each resulting half. For example. 
If pattern numbers 1 to 5 were in a chain and the chain was separated 
at number 3, numbers 1 and 2, 4 and 5 would then be left in two small 
chains and number 3 would be independent of both of the new small 
chains. 



47 



Applications 



d. Block writing 



To write adjaccnl rhylhm paltcrns as a block, press Ihc Main Keys 
of the first and final pattern numbers of the rhythm patterns. 



(Making a block of rhythm panerns 9 to 12) 



Push 




<> 



simulianeously 






The firel panern No. is displayed 



BLOCK will appear in the Display. 



48 



Applications 



e. Flam 



I Writing Flames 



(In tap writing) 



A [lam sound is the one Ihal results when two drum sliciis nrc pinycd 
with an interval, the first weakly and then the second slronKcr. 



The flam effect can be added to nine drum voices. 

They are : SNARE DRUMs 1, 2, and 3 
LOW TOMs 1 and 2 
MID TOMs 1 and 2 
Hi TOMs 1 and 2 



Step 1 Check that the TR-626 is not playing. 

Step 2 Select the pattern group and number to which you would tike to add 

the flam effect with the Pattern Group Keys (D, E. and F) and the 
Main Keys (1 to 16). 

Step 3 Push the Start/Stop Key to start playing the TR-626. 

Step 4 WhUe pressing the Shift Key with the rhythm you want, push the 

Main Keys (9 to 13} for the drum voices you would like this to 
add flam. 

The dots (•) on the steps to which you prosram I he flam effect 
will flash. 



(In step writing) 



Step 1 Check that the TR-626 is not playing. 

Step 2 Select the pattern group and number to which you would like to add 

the ftam effect with the Pattern Group Keys (D, E, and F) end the 
Main Keys (1 to 16). 

Step 3 Push the Start/Stop Key to start playing the TR-626. 

Step 4 Allocate the drum voices to be written to the Main Key.CSee page 

11.) 

Step 5 While pressing the Instrument/Metronome Key, push the Main Keys 

for the drum voices to which you would like to add the ftem effect. 



49 



Applications 



Step 6 While holding the Shif Key down, push the Main Key {1 to 16) that 

corresponds to the step where the flam is to be written. 

The dots {•) on tiic slcps lo which you program the flam effect 
wilt flash. 

Do this .ng.Tin for evcr> other step that you would like to add Ihc 
finm effect. 

Step 7 To write flams in other drum voices, repeat steps 4 to 6. 



# Stetting Flam Intervals 



Flam inlcrvais can be set at one of five positions, from to 4. for 
each patlern. 



/J 



Flam interval 



Step 1 While pressing the Shift Key. push the Shuffle/Flam Key twice, so 

that FLAM appears in the Display. Each time the Shuffle/Flam Key 
is pressed the TR-626 alternates between SHUFFLE and FLAM in 
the Display, 



T*,n»«i.B- TPI-BESe 



^- a- -fa. _«. .Ci t3u, ti aj 



O 






X 



While holding 



□cvm 
down, push j twice 



Currcnliv- set \iiliics appear in the Display. 



50 



Apclications 



Step 2 Keeping the Shift Key pressed, set the flam interval by pressing the 

Main Keys (9 to 13). 



While holding 



down, push <^^ 



Flam inTerval D i 2 3 4 



Higher values make ionger intervals. (Al 'O". no flam effect is 
obtained.) 



51 



Aoplicaiions 



f. Shuffle 



The shiidtc effect adds a bounce, or tilt, that can be discerned in 
actual performance even if the intervals on the musical score arc the 
same. 

When shuffle is set to any value other than 0. the steps of even 
number will lajj slishtly. to creating this effect. 



SCALE 


J J J J 


PATTERN 


• • 






• 




• 




















STEP 


2} 


'Zi 


3 


4 


5 


6 


7 


8 


9 10|l112h3|l415|l6l 



Shuffle : Jj J J 



C^ 



o 



Shuffle : 3 



^ n 



The steps in even Unchanged 
order numbere are 
moved backward 



Step 1 While pressing the Shift Key. push the Shuffle/Flam Key once, so 

that SHUFFLE appears in the Display. Each time the Shuffle/Fiam 
Key is pressed the TR~626 aiiernates between SHUFFLE and FLAM 
in the Display. 



While holding 



T?i-see 



W«--i.--. 


Imm j^ ■■ .JT JK .■■. JJl --^ 






-.-->.. 




y 


/ 





o 



n 
u 



SHUFFLE 



down, push j ] 



Currently set values appc.ni- in the Display, 



52 



Applicaiions 



Step 2 Without releasing the Shift Key, set the desired shuffle by pressing 

the Main Keys (9 to 13). 



While holding 



down, push 
Shuffle 













1 




^ 


m 


w 


fc 


^^ 


1 . 





Shufde can be set at one of five positions, from to 4. for each 
pattern. The higher the value, the stronger the bounce. At 0. there is 
no effect. 

*ThB shuffle effect cannot be added to triplet icoles. 



53 



Applications 



2. Functions to use while track writing 



a. Delete 



Any numbers of rhythm patterns written in tracks can be deleted at 
a time. 

Step 1 Call the first bar that you would like to delete. (See p.62.) 

Step 2 Press and hold the Shift Key while all of the following instructions 

are carried out in the order written here : press the Delete Key 

(Main Key 13), then assign the number (with the Main Keys 1 to 
10) of the final bar to be deleted, and finally push the Enter Key. 



*To delete to the last bar. push the Last Measure Key instead of 
specifying the number of the final bar. 

*To datete a single bar only, press the Delete Key as in step 2 and then 
push the Enter Key. 



Example of deleting operation 

(Deleiing the 21st to 24ih bars) 



1 n ^3 ;d \^^S:2^?^iS 2i ?6 z^ a 23 ze i 



' Z I « , IT K 13 20 7! I ;? ?1 }l 2i !b n IS 




T2ISI bar is called (Bar d^ignation) 



^ I 



\7 




Before deletion 



il After deletion 
2 Deleting operation (deleting up to 24ih bar) 



\7 



dEL 



?W 



?; 



54 



Acplicaiions 



(When every bar from 2Sth bar onward are to be dateiedi 



\ t 1 t 



113* 



!\ 12 a it 



!i n li ?> 




Before deletion 



After deletion 



a^Call 25th bar 



:|, Delete up to the final bar 




peT/kCTXO 



D 



\7 



dEi 



PS 



c'-S' 



{To delete the 1 9th bar only} 

I ; 3 . ^ n i.H^^D ^, 22 2z » Before deletion 



* ~-J — ' 1 j After deletion 



CTCall the 19th bar 



2 Deleting operation 



\7 



d£l 



;s 



\7 



;s 



55 



Applications 



b. Insert 



New rhythm patterns can be inserted inlo a track which already has 
rhythm patterns written on it. 

Step 1 Designate the bar into which you would like to insert the pattern. 

(See P.62.) 

Step 2 Select the rhythm pattern which you would like to insert using the 

Pattern Group Keys (A to F) and the Main Keys (1 to 16). 

Step 3 While pressing the Shift Key, push the Insert Key (Main Key 12) 

and then the Enter Key. 



Example of inserting operation 

(Insenmg panern A-1 into the third bar position) 
I ! 3 * s 6 




Before insertion 



After insenion 



Insert to this position 

I Call the third bar z Select the rhythm panern 3 Insertion operation 
you would like lo insen 
(A-1) 



\7 



D 



\7 



tnS 



3 



S' 



56 



Apphcaiions 



(Imaning pan«rn A-t to A-4 into the third bar position) 
I z 3 4 s s 1 




Before insenion 



After insertion 



A I * z A 1 At 



') Call the third bar 



\7 



Z Select the rhythm pattern J Inserting operation 
you would like to insert 
(A-t to A-4J 



D 



Push simultaneously 



\7 



/nS 



57 



Apolicaiions 



c. Copying bars 



A siring of bars which have already been wriltcn into a track can 
be copied onto another part of the same track. This is especially 
convenient when you would like to use an unbroken group of bars 
several times. 

Step 1 Designate the number of the first bar to which you would like to 

insert the copy of the string. (See p.62) 

Step 2 Press and hold the Shift Key while you carry out the follow/tng 

instructions in the following order : push the Copy Key (Main Key 
11). the number of the first bar to be copied {with the Main Keys 
1 to 10). the Enter Key. the number of the final bar to be copied 
(with the Main Keys 1 to 10). and then the Enter Key again. 

*tt ii impossible to copy a string of bars to one of the bars within that 
string. For example, you cannot insert the 5th to 10th bars to ■ place 
beginning at the 9th bar. 

*Do not copy bars from one track to another, 

♦ When you attempt to copy incorrectly, the following appears in the 
Display : 



58 



Aoplicaiions 



Copying operatitm examples 

^When the contents of the 13th through 16th bare are to be copied lo positions beginning \ 



\with the 1 9th bar 

1 : 3 4 . 11 iz 



Before copying 




After copying 



(T'Call^e 19th bar 



(^Copying operation 



V 



13 



ZP'd 



13 



IS 



S3 



59 



Applicaiions 



d. Block Writing 



Within one paltcrn group a rhythm pattern having an unbroken string 
of pallern numbers can be programmed as a block. 

When a rhythm pallern uses several bars frequently is written over 
an consecutive pattern numbers, it can be conveniently written in a 
block in track writing. 

Step 1 When assigning pattern numbers for writing a rhythm pattern into 

tracks . push the first and final pattern numbers ' Main Keys 
simultaneously that you would like to write in a block. 



(When panern numbers 9 through 12 are lo be wrinen in a block) 



Push 




ST the same time 






First pattern number indicated 



BLOCK will appear in the Display. 

Step 2 Press the Enter Key and the rhythm pattern that has been written 

will be written at once. 



e. Last Measure 



When you would like lo continue writing after the already written 
tracks, you may want to go directly to the youngest empty bar 
number. To do this push the Last Measure Key while Ihc TR-626 
is not playing. 



Last measure key 







HoMnd 


rmrfTt^axjr^imif TW-SSS 




-. -_- . 


** m" V' 




iEj:tr^ -"' 


■CjtH. XK. JLA p!3.Lia.>.fl .^ 


.fr-r^ » 


E5E5?5?5rT— S? ~ 









60 



Aoplicauons 



3. Functions to use while playing a track 



a. Continue Start 



These functions can be 5Cl when Ihc rhythm is slopped in ihc Tr:\cU 
Pln\- mode. 



When you would like lo bcKin playinfi once more from Ihc point cil 
which yon slopped earlier, push Ihc Conlinuc Slarl Key while holdin.y 
the Shift Key down. 



White holding 



down, push 



b. Continue Play 



When you would like to begin playing from a point Ih.it >du 
dcsiKn.Ttc. 

Step 1 Designate the bar from which you would like to begin. (See next 

page.) 

Step 2 Push the Continue Start Key while holding the Shift Key down. 



STiin/s^Op 



While holding 



c. Last Measure 



down, pgsh 



The Inst h;ir and its rhythm pattern of the currcnliy chosen track wilt 
appear in the Display as long as Ihc Lasl Measure Key is pressed. 



Last measure key 







; Roland 


! 
i 




""-__„:-■_ — 1 



61 



Applications 



4. Miscellaneous Functions 



a. Designating a bar number 



When rhythm is slopped in play or in track wriling mode, il is 
possible lo designate the bar number of the track ihnl is currcntu 
selected. 

(1) ff you would like to designate the number of several bars in 
order, use the Measure Forward end the Measure Back Keys, 



Measure Beck Key 



■Each time the key is pressed . the bar 
number will decrease by one. (10. 9, 8. . . .) 



Measure Forward Key •■•Each time the key is pressed- the bar 
number will increase by one, (1. 2, 3,...) 

(2) To designate a bar number directly, while pressing the Shift Key 
and designate the bar number with the Main Keys (1 to 10) 
and then push the Enter Key. 



(When bar No, 15 is to be destgnated) 



OtNUClXyi 



While holding 



down, push 



then 



J O 




62 



Appticaiions 



b. Block Play 



Push 



In pattern play mode, rhythm patterns adj.iccnt to each other within 
the same pattern group are played continuously. To designate pattern 
numbers, press two Main Keys, for the first and last pattern numbers 
which you would like to play in this way without a break. 



(Making a block of rhythm patterns 9 to 12) 




o 



stmutianeouslv 




The first pattern No. is displayed 



BLOCK appears in the display. 

When the Start/Slop Key is pressed, the rhythm patterns designated 
as a block will play continuously, that is from start to end over and 
over. 



63 



Storing Rhythm Paiierns in Exiernal Mem 



IJ Storing Rhythm Patterns in External Memory 



1. Memory Card 



Rhythm paltcrns and Irack data Ihnl have been \vriucn m llic 
TR-626 can be stored exlcrnatly in a memory card or an nutlin i,-ipc. 
Usini^ a memory card is recommended for storing imporlaiU d.il.i. 



Please use our Memory Card M- 
TR-626 data. 



■128D. an option, for prescr\'!ng 



*When uiing lh» Msmory Cird M-128D,rMd the instructions provided 

with it. 
♦ Pltase do not use any oth«r manuf«cturar'» memory card. 

A memory card has twice the memory capacity that the TR-626 
itseif has. We call the TR-626's memory Bank 1. Banks 2 and 3 are 
allocated to memory cards. Level and pitch for a drum voice can be 
independently set in each bank. The distribution of drum voices to 
the Main Keys and the MIDI setting functions are done in common 
for all the banks and memorized by the TR-626's memory. 



Bank 1 



48 kinds oJ rhythm oatiefns 
6 kinds ot uacks 
Seitins ihe level, pnch oj 
each drum voice 



(Interna! Memory) 



Bank 2 




Bank 3 


AB kinds ot rhylhrn patlems 
6 kinds ot iracks 
Setung the level, oitch of 
each drum voice 


48 kinds ol rhyihrn panems 
6 kinds ol tracks 
S«tlin9 the lewef, pitch ot 
each drum voice 


(Mem 


ory 


Card) 



* Preset rhythm patterns (A. B, and C) are used in common by all the 
banks. 

When a new memory card is to be used for Ihc first lime, it must 
be formnllcd for the TR-626 before it can be used. (Sec p.67.) .'\ficr 
it has been properly formatted, it can store rhythm and track pallcrns 
in exactly the same manner that the regular memory of ihc TR-626 
docs. 



64 



Storing Rhythm Paiierns jn Exletnal Mem 



A memory card has a Prolcct Switch to protect stored data. Normally 
this switch should be set to ON. However, in order to store data with 
the memory card, or to chanse the pitch and level of drum voices the 
Protect Switch must be turned OFF before doing these operations. 
Turn a memory card's Prolecl Switch on and off in play mode. 




If you attempt to memorize data while the Protect Switch is on. the 
following will appear in the Display ; 



Prt 



If you attempt to turn the Protect Switch ON' in write mode, the TR 
-626 will stop and then go into pinv mode. 

* Be Bspecialiy careful when turning the Protect Switch ON. Bank treck 
data will be damaged if the Protect Switch is turned on in track writing 
mode. 

Any operation done with n memory card should be done when the 
TR'-626 in track play mode and is stopped. 



65 



Sionng Rhythm Paiierns in External Mem 



a. Changing banks 



While pressing the Shift Key, press the Bank Key (Main Key U) lo 
change the bank. 



WNIe holding 




HMTMjm ■ L» I TR pgCJ 



1 in. JM. ji .Si lii. ( 






f- 



O 



down, push 



as many times 





BAI«K 






1 
1 


Memory bank 1 ■-■Memory within 
the main unit 




i 






BANK 




^ 

CARD 


Memory bank 2-Memory card 




1 






BAm. 




3 

CAW 


Memory bank S'-Memory card 




1 





*H the memory card is not inserted properly all the way into its slot, 
the bsnk will not be changed and the following will appear in the 
Display : 






66 



Storing Rhylhm Paiterns in Exiernai Mem 



b. Formatting a memory card 



When a new memory card is used for the first time, il must [irsl be 
formatted for use with Ihe TR-626. 

Step 1 insert the new memory card into the memory card slot securely until 

it clicks. 




Step 2 Turn the card's Protect Switch OFF. Change banks (See the previous 

page.) so that F appears in the Display. 



Step 3 Push the Enter Key while holding the Track Clear Key down. 




j.i ac J»- Jt i* nrti t is aj J 



O 



^ 



7 



White holding I down , push 



67 



Storing Rhyihm Panerns in External Mem 



The card is now formnttcd. The bank will change lo Bank 2. 
*H the Protect Switch is loft ON the card cannot be formatted. 



c. Copying data between banks 



Step 1 



Any dala in one bank can be copied to another. Storing and moving 
data to and Irom Bank ! to Banks 2 and 3 can be done easily. This 
method is quicker and more secure than working with audio tapes. 

Data can also be copied between Banks 2 and 3. 

Turn the Protect Switch OFF before copying data into a memory 
card. 



Step 2 While pressing the Shift Key. push the Bank Key (Main Key 14) to 

designate which bank will receive the data. 

Step 3 While pressing the Shift Key, push the Copy Key (Main Key 11), then 

push Main Key (1 to 3) to designate which bank will send the data, 
then push the Enter Key. 

The data of the bank designated in step 3 will be copied onto the 
bank designated in step 2. 

Step 4 Turn the memory card's Protect Switch ON, 

*New data copied onto a location in a bank that has old data will erase 
the old data. 

*lf you atlempl to copy data onto a memory card whose Protect Switch 
is ON the following message will appear. The data should not be copied. 
Bestn again after turning the Protect Switch OFF. 



Prb 



68 



Storing Rhylhm Patterns in External Mem 



Data Copying between banks cqwratitHi examples 

(When a>pytng the data of memorv bank 1 into memory bank 2) 



tl.'SBlect the bank in the copy 
receiving unit 



2 Copying operation 



\7 



-? 



i-e 



lie 



69 



SlOfing Rhylhm Patterns in External Mem 



2. Tape memory 



a. Saving 



Data stored in the TR-626, thai is in Bank I. can be slorcd 
collectively on an audio tape. 

Putting data from the TR-626 onto a tape is called "saving": caliins 
data from a tape to the TR-626 is called "loading' : and checking 
if data has been correctly saved is called "verification." 

*Do thii while the TR-626 is in track play mode in Bank 1 and is 

stopped, 
't'll should not be done tn Banks 2 or 3. 



Step 1 Connect 8 tape recorder's microphone jack to the TR~626's Tape In 

/Out Jack found at the back of the TR~626 as shown in the figure. 



Tape IN/OUT jack 



TR-626 




Step 2 Start recording with the tape recorder. 



70 



Storing Rhythm Pailfifns in External Mem 



Step 3 While pressing the Shift Key. push the Tape Key (Main Key 16). then 

push Main Key 1. check that 'S" appears in the Display, end lastly 
push the Enter Key. 



\7 



tP 



*S8t the recording level at about +3 VU after Step 3 while a pilot tone 
is still being heard (for about five seconds). 



After finishing saving, the TR— 626 will go inlo track play mode. 

*tf you would like to suspend saving press Main Key 1. 

* After finishing do not foil to verify that the data has been correctly 
copied. 



71 



Sloring Rhythm Patterns in External Mem 



b. Verification 



Step 1 Connect the TR-626 to the tape recorder as shown in the figure. 

Do not change any of the TR-626 connections. 



Tape IN/OUT jack 



TR-626 



Headphone jack 
LINE OUT jack 



Q 



-^-^ 



1 I M I I I 



o o o 



Step 2 Rewind the tape a up to the beginning of the data, where you will 

hear pilot tone. 

Step 3 Start playing the tape. 

Step 4 While pressing the Shift Key, push the Tape Key (Main Key 16), 

then push Main Key 2, check that "V" appears in the Display, and 

lastly push the Enter Key. Do this before a pilot tone changes to 
a modulated tone. 























■^^ 


J 






















c o 




C ' 




■HBBOil 
















'- 


• 1 1 
u 

1 






■■■■ 

















72 



Storing Rhvlhm Paiierns in Exiernal Mem 



When the TR-626 is verifying, the tempo indicator will iighl. Data 
being input from the Tape In/Oul Jack and the originai data in Bank 
1 arc being compared. 

When the data has been verified as having been correctly saved, the 
TR-626 will go into track play mode. 

*\i you would like to tuspvnd vBrifying push Main Key 1. 

*lf the tignal was not transmitted correctly from its beginning or \i 
reading it becomes difficult et some point the follovfing error message 
will appear : 



rr 



Errors occur largely as a result of two causes. One is that the volume 
is not set properly whiie verifying. In this case, simply slop the tape 
recorder, adjust the reproduction level, and start verifying once more 
from the beginning. If it has a lone control, adjust this also if it 
seems appropriate to do so. The second cause is that the data was 
not recorded properly. In this case, adjust the recording level and 
save the data from the beginning, that is, start over completely. 
If an error message is still indicated after the above procedure, try 
again using a different tape recorder. 



73 



Storing Rhythm Patterns in Externa! Mem 



c. Loading 



Step 1 Make the same connections that are required for verifying. 

Step 2 Find the position on the tape to start from by listening to the "pee' 

sound in the same way as it was done for verifying. 

Step 3 Start playing the tape. 

Step 4 While pressing the Shift Key. push the Tape Key (Main Key 16). 

then push Main Key 3. check that "L" appears in the Display, and 
finally push the Enter Key. Oo this before a pilot tone changes to 
a modulated tone. 



^ 



bP 



When ihc TR-626 is loaciinK from the tape, the Tempo Indicator will 

light. 

When the dn!a has been loaded corrcclly, the TR-626 will go into 

track play mode, 

*lf you would like to suspend loading, push Main Key 1. 

* Please try to always save and load as much as possible using the 
same tape recorder. 



74 



Oiher Useful Functions 



H] Other Useful Functions 



a. Multi — out Jack 



b. Trigger— out Jack 



The TR-626 is equipped, in addition lo ils stereo output jacks, with 
eight mulli-oul Jacks that arc for the drum voices. Each drum voice 
can be output individually through sound effect machines such ns echo 
machines. 

The following drum voices are assigned lo each multi-out jack. 



MULTI OUT 
JACK 


OUTPUT VOICE 


BASS DRUM 


BASS DRUM 1/2 


SNARE 


SNARE DRUM 1/2/3 
RIM SHOT 


LOW TOM 


LOW TOM 1/2 


MID TOM 


MID TOM 1/2 


HI TOM 


Hi TOM 1/2 


Hi -HAT 


CLOSED HI -HAT 
OPEN Hi "HAT 


CRASH 


CRASH CYMBAL 
CHINA CYMBAL 


RIDE 


RIDE CYMBAL CUP 



*A drum voice sound output through a mutli-out jock cannot be output 
through a stereo output jack. 



When a rim shot sound written in a pattern is gcncralcd. the trigger 
messages ( + 5 V approx. 18 ms) arc output through Trigger-out Jacii, 



When trigger signals are used lo control an external sound source 
( = trigger receiving device), that sound source can be added lo the 
rhythm pattern. 



75 



Oiher Useful Functions 



c. Start/Stop with a Pedai Switch 



The Slarl/Slop function con be controlled with an oplionn! foolswitch 
CDP-2. BOSS FS-SU. clc) by connecting it to the Stari/Siop Jack 
on the rear panel. 

*lt works in every mode. 



UWUTOM a*Aft BASSDRJM 



£3 



START/STOP Tl« TA« T»« SV*: 





DP-2 

(Optional) 



76 



MIDI Funciion 



MID! Function 



^l^ Please read the separate booklet "MIDI' for a full explanation of MIDI. 

The TR-626 is equipped with a MIDI terminal (IN/OUT) lo allow 
you to have a much more colorful play by connecting the TR-626 
to other MIDI devices such as sequencers, keyboards, and the like. 
The transmission and reception of the following kinds of MIDI data 
is possible through the MIDI terminal : 

1}Key information that corresponds to every sound source. It is data 
that is arranged so that the sound for each percussion instrument 
is set to the pitch of each key. (See p.80.) 

2)Track Number (Song Select) 

3)Bar Number (Song Position Pointer) 

4)Synchronized signals for tempo clock, startystop. etc. 

5)Pattern Data, Track Date. Level/'Pitch Data 
(Via Exclusive messages) 



77 



MIDI Funciion 



1. Checking the M!DI Function 



Check Ihis funciion while Ihc TR — 626 is stopped in Track Play mode. 

While prcssinK the Shift Key. push the SYNC/MIDI Key (Mnin Key 
15) and then push the Enter Key repeatedly. Each time the Enter 
Key is pushed, the selling for each MIDI function will be shown in 
Ihc display. 



\7 



I ME" 



team 



MIDI Function Sening 







Snc 


of 



'*' \onn 



rch 



► SYNC mode (MIDI SYNC/Tape SYNC/SYNC Off) 



Cffl ■ • °'^^' '""'* ION/OFF) 



I'/j ' • R<"^»Pi'on channel (Channels 1 lo 16) 
^ ' (Basic channel) 



nfor 1 3S • Key No. (25 to 99) 



*^ h C hi • iHl ' * "'"'■ansmission channel (Channels 1 to 161 



P — . ,— i- • Exclusive 



L _fL L. 



(Data transmission /reception vis MIDI) 



When you would hkc lo change the setting of <t particular MIDI 
function, first gel the required MIDI function in the d!si)l.-ty, then 
change it while holding the Shift Key down. 

*A new setting will be retained in memory even after turning the power 
off. Il will be in force for every bank. 



78 



MIDI Function 

2. Altering a MIDI Function Setting 

This section explains how lo set the MIDI function for ihc most 
commoniy used connections. 

a. When the TR— 626 is to be used as a MIDI sound source 

The drum voices of Ihe TR-626 can be made lo emit sound when 
rhythm pattern playing data is supplied from external devices, such 
as other rhythm machines, keyboards, sequencers, etc.. that have MiDl 
terminals. In an instance such as this the rhythm pattern playing 
data does not need to be written into the TR-626's memory. 



MIDI 



Sequencer 
MC-500 



TR-626 



Step 1 Change either the transmitter's transmission channel or the TR-626's 

reception channel to set them to the same MIDI channel. 
(Refer to 'o Altering the reception channel" on p.83.) 

*lf only one receiving MIDI device is used, step 1 can be dispensed with. 
Simply turn the OMNI mode on, instead of off, in step 2. 

^Changing the transmission channel of the transmitter (s) should be done 
strictly in accordance with the instructions in the operation manual for 
the transmitter (s). 



(Transmisston/Reception Channel) 



There are !6 MiDI channels. The transmission channel, the channel for 
transmitting playing information, can be designated as any of Channels 
1 lo 16. Since this is so. when information about several channels is 
sent through a single MIDI cable, playing information sent will be 
received only by the reception channel designated to accept it. 

Step 2 Turn the TR-626's OMNI mode off. (See "Altering OMNI mode' on 

P.83,) 



79 



MIDI Function 



(OMNI Mode) 



Step 3 



When OMNI mode is turned off, only the information sent on Ihc 
reception channel wilt be received out of information sent on several 
channels. When OMNI ON is selected, information sent on all the 
reception channels will be received no matter what channel may be 
set. 

Set the Key Number ("Note Number) of aach drum voice of the TR 
— 626 to the corresponding sound sources of the transmitter (5). (See 
"Altering the Key Number of each drum voice" on p.84.) 



(Key Number) 



Key Numbers can be set to control the generation of sound for every 
drum voice of the TR-626. 

From the manufacturer, the Key Numbers were set as follows : 



1351 
BDl 




(371 
RIM 


(391 
HCP 






142 1 
CHH 


(441 


146) 
OHH 






149) 
CCV 


1511 
RCY 






1541 
TAMB 


1561 
CB 


(581 
SD3 






161) 


(63) 
DHCG 






166) 
LTB 


(68) 
LAQ 


1701 






1731 


1751 




(3 


6) 
33 


13SJ 
SOI 


(4 
5C 


0) 

2 


t4 

n 


It 

1 


t431 
LT2 


145) 
MT) 


14 


71 


14 

HI 


Bl 

n 


1501 
HT2 


15 

CM 


2) 


(5 
CI 


3) 


(55) 


(571 


15 


S) 


16 

J 


OJ 


(62) 
MHCG 


(6 
LC 


4) 

G 


1651 

HTB 


(671 
HAG 


169) 


171) 


172) 


1741 







Middle C 



• Each drum voice uses abbreviation e.g. 
BD for bass drum, {See page 9.) 



Step 4 Starting the transmitter wrill make the TR-626 play in accordance 

with the transmitted playing information. 

*Turn the SYNC mode off in order to transmit playing data from a 
sequencer or other rhylhm machines. If playins data has already been 
written into a track designated by the TR-626, and if the transmitter 
begins playing the TR-626 in MIDI SYNC mode, the TR-626's rhythm 
pattern will be output in addition to the transmitter's rhythm pattern. 



80 



MIDI Function 



The transmitter's playing data 



(When data comes from a sequencer) 



BASS 
DRUM 1 



SNARE 
DRUM 1 



CtOSED 
HI-HAT 

OPEN 
Ht-HAT 



The TR-626's rhythm patterns and score data written into a 
sequencer correspond as shown below. Key Numbers for every sound 
source were set as set from the factory. (See the previous page.) 



(Instnimenl) (Key number! 



{Score! 



I Z 3 » i S I 7 I J 10 n 12 13 1* IS 16 



l-fSVa 



as 



38 



42 



46 



O 



O 



o 



o 



7 7} \ 



-. BVa j I 



■ BVa 



l^ir rr rr 






O 




*The intensily of «ach accenl is determined by the velocity of Note Event 
in MIDI messages. 



By writing a score as directed by the operating method recommended 
by each sequencer manufacturer you can make the TR-626 play- 
according to that score. 



MIDI Funciion 



(When data comes from other rhythm machines) 



First wrile Ihc rhylhm pattern into the trnnsmittcr's memory ihnt you 
would like Id make the TR~626 play and then set the transmitter's 
sound source key numbers to Ihc drum voice key numbers of the TR 
-626 that you want lo output the transmitter's rhythm pattern. 

*Tha sound volume for each drum voice of the TR— 626 v^ill be 
determined by vetocity of Note Event in MIDI messages. Levels set in 
the TR— 626's Bank will be ignored. Note that any sound source whose 
level is set at will not emit any sound even if received by MIDI, 



82 



MIDI Funciion 



Altering the reception channel (Basic Channel) 1 to 16. 

Step 1 Chsck the MIDI function as explained in 'Checking the MIDI function' 

on p.78 and have the display indicate the reception channel setting. 







rch 


in 

lU 



Step 2 Push the Up Key when you would tike a higher channel than the one 

currently let. Push the Down Key when you would like a lower 
channel. 

The channel chosen can be any between Channels 1 to 16. 



Altering OMNI mode (ON/OFF) 



Step 1 Check the MIDI function as explained in "Checking the MIDI function" 

on p.78 and have the display indicate whether the OMNI mode is on 
or off. 







onn 


on 



Step 2 Push the Up Key to turn the OMNI mode on. Push the Down Key 

to turn the OMNI mode off. 







oon 


of 








onn 


on 



•■Receives only ihe messages or a receive channel 



■Receives the messages on the all channels 



83 



MIDI Fund ion 



B Altering each drum voice's key number (25 to 99) 

Key number of each drum voice are common for reception and 
Iransmission. 

Step 1 Check the MIDI function as explained in 'Checking the MIDI function" 

on p. 78 and have the display indicate the current key number 
setting. 







nbr 


3S 



Step 2 Push the Main Key of the drum voice that you would like to change 

end the display will shovi/ the Key Number of the designated drum 
voice. 



(When BASS DRUM 1 was seleaed) 



INSTRUMEMT 

•CCENT 


















9 


























nbr 


3S 





Step 3 Push the Up Key when you would like a higher Key Number than 

the one currently set. Push the Down Key when you would like a 
tower Key Number. 

The Key Number can be set between 25 and 99. 

*U a single Kev Number is assigned to more than one drum voice, only 
one o1 those voices will accepted when playing information is received 
for that Key Number. If one or more drum voices is given the same 
Key Number, any drum voice shown on the lower line above the Main 
Keys will take precedence over the upper line, and within the upper and 
lower lines, the voice having the Main Key of the smaller number will 
be given priority. 



84 



MID! Funcnon 



b. MIDI Synchronized Playing 



Rhythm machines and sequencers that have MIDI terminals can be 
played synchronously. When two or more rhythm machines and 
sequencers are connected and played synchronousiy. the MIDI device 
that dictates the tempo and the other settings is called the master 
and the device (s) that are controlled are called the slave (s). 



{Synchronized ptay with the TR-626 acting as the Master) 



MIDI 



(Master) 



OUT 

TR-626 



MIDI 



' (Slave) 



IN OUT 

Sequencer 
MC-500 



Keyboard 

D-50 



Step 1 Set every slave device to OMNI OFF. 

Step 2 Set sll of the slave devices to operate synchronously in response to 

signals from the TR — 626. 

Step 3 When the Start/Stop Key of the TR--626 is pressed, all of the slave 

devices will begin playing in unison at the tempo dictated by the TR 
- 626. 

*lf the sieve devices ara equipped to accept Song Select and Song 
Position Pointer MID! informntion. the track number end the bar number 
designated by the TR-626 con be designated to the same settings by 
the slave devices. 



(Synchronized play with the TR~626 acting as a Slave) 



MIDI 



OUT 

Sequencer 
MC-500 



IN OUT 

OUT 
OUT 
OUT 



MIDI 



MIDI Output Selector 
MPU-105 



Keyboard 

D-50 



TR-626 



Step 1 Set the TR-626 to MIDI SYNC mode. (Refer to "Altering SYNC 

mode" on p.87.) 



MID! Function 



SYNC mode : Determine whether the external MIDI device or ihc ')'R-626 
itself will control the TR— 626's tempo, startins. slopping, etc. 
if the TU— 626 is lo be in control, carry out the procedure 
above in Synchronized play with the TR— 626 acting as the 
.^iasle^, If not do as below. 

Step 2 Set the TR-626's OMN! to OFF. {Refer to "Altering OMNI mode' 

on p. 83.) 

Step 3 The msster device's transmission channel and the TR — 626's reception 

channel are usually set to different numbers. However, they can be 
set the same if you woutd like to play the TR~626'5 drum voices 
with the performance information sent from the master device as well 
as with the TR~626's own data. (Refer to "Altering the reception 
channel' on p,83.) 

Step 4 When the master device begins to play, the TR-626 will begin sync 

to it. 



86 



MIDI Functton 



I Alternating the SYNC mode 



Step 1 Check the MIDI functbn as exptained in "Checking the MIDI function" 

on p. 78 and have the display indicate the current SYNC mode 
setting. 







Snc 


of 



Step 2 



Push the Up Key and the Down Key to change the SYNC mode. 



Down key 







WODE 


Snc 


tP 


TRACK PLAV 
EXT SVNC 







MODE 


Snc 


no 


TBACK PLAY 
EXT SVNC 



Up key 







MODE 


Snc 


of 


TRACK PLtX 



(Tape SYNCl 

• Operates using the synchronous signal 
that comes through TAPE SYNC tN JACK 



{MIDI SYNC) 

• Operates using the external synchronous signal 
that comes through MIDI IN CONNECTOR 



(SYNC OFF) 

• Operates at the tempo set by the main unit 



When the TR-626 is syncing to external devices. EXT SYNC will 
appear in the display, When you make the Display show tempo, the 
following sync mode is also displayed. 



nno 



tl 



p 



(MIDI SYNCl {TAPE SYNCJ 



87 



MIDI function 



*When the SYNC mode is set at TAPE SYNC or MIDI SYNC, and the Stan 
/Slop Key is pushed, the TR-626 will not begin to play until It receives 
■n sxlernat signal. To release it from this state do the following : 

When in TAPE SYNC mode 

The mode will change lo SYNC OFF by pushing Ihc Start/Slop Key 
again. 

When in MIDI SYNC mode 

The mode will change lo SYNC OFF by pushing Ihe Starl/Stop Key 
again, then having the display indicale ihe SYNC mode selling, and 
then pushing ihc Down Key. 



88 



MIDI Function 



c. Playing MIDI sound modules with the TR-626 



The TR~626 outputs its rhythm pattern through its MID! Icrminal 
whiic it is playing. Making use of this capability, the TR-626 can 
make more than one external samplers and other machines, which arc 
programmed with their own sound sources, sound effects, specific 
sounds, etc.. play according to the TR-626's output rhythm paitcrn. 







MIDI 








MIDI 








MIDI 












'■ 












' 


OUT 

TR-626 




a* THRU 

Sampler 
S-220 




IN Thru 
Keyboard 

D~50 




IN 

Rhythm Machine 
TR-505 



Step 1 Match the reception channels of the receiving MIDI devices to the 

transmission channels for each of the TR~626'& drum voices, 
(Refer to 'Altering the transmission channel for each drum voice" on 
P.90) 

Step 2 Set the receiving device Cs) to OMNI OFF. 

Step 3 Set the key numbers of each sound source (drum voice) of the TR 

— 626 and the receiving devices to be the same. (Refer to "Altering 
the Key Number of each drum voice" on p.84.) 

When, the TR-626 starts to play, the externa! units will also sl.irl to 
play according to the playing information written in the TR-626. 

*ThB sound l»vel of tha rscaiving sound lourcos ar« determined by the 
accents set for each drum voice In the TR-626 rhythm pattern. This 
over— rides the level settings on each drum voice of the TR-626. 



89 



MID} Fund ion 



i Altering the transmission channels for individual sound modules (Channels 1 to 16) 

Transmission channels can be sel individually for each sound source. 
This allows for more than one MIDI sound source to be coniroilcd 
separately by the TR-626. Piease note that from the manufacturer. 
all of the sound sources were set to Channel 10. 

Step 1 Check the MID) function as explained. in 'Checking the MIDI function' 

on p. 78 and have the display indicate the transmission channel 
settings. 







tch 


in 



Step 2 Push the Main Key of the sound source of the transmission channel 

you would tike to change. The display will indicate the designated 
sound source transmission channel. 

Step 3 Push the Up Key when you would like a higher transmission channel 

than the one currently set. Push the Down Key when you would like 
a lower channel. 

Transmission channel can be set from 1 to 16. 



90 



MIDI Fgnciion 



d. MIDI Exclusive messages (Data transmission/reception by MtD!) 

With a MIDI exclusive message. Bank I data (rhyihm paiicrn. Irack 
data and level and pilch sellings of each drum voice) can be 
transferred in a block lo another TR-626 or another unit capjiblc of 
receiving and memorizing exclusive messages. The following is an 
example of transferring data between two TR-626 units. To Icarn 
about transferring between other machines, please read Ihc relevant 
operation manual for those units. 



• Data transmission to another TR~626 

Writing a transmitter's Bank 1 data into the receiver's Bank 1 
The TR-626S should be connected as shown below : 

MIDI 









' 


OUT 

TR~626 




IN 

TR-626 



(Transmission side) (Receplion side) 

Step 1 Set the reception channels (basic channel) of the transmitter and 

the receiver TR-626s to be the same and set both of their memories 
to Bank 1 (internal memory). 

*lf the TR— 626$ Bra not both in Memory Bank 1, the following operntion 
cannot be done. 

* Operations using exclusive messages are done through the basic channel. 
With the TR— 626. hov^ever, the reception channel is equivalent to the 
basic channel. 



91 



MIDI Function 



Step 2 Do the following operetion on the receiver TR-626 




D 



o 











Snc 


of 














». 


Esc 


t 














»- 


Esc 


r 












i 


»» 


Esc 


*■* 



The receiver TR-626 is now set to receive data. 
Step 3 Do the foUowing operation on the transmitter TR-626 







\7 









1^ 


Snc 


of 














Push 5 times 


Ejc 


t 
















'■ ^ 


Edc 


t. 



92 



MIDI Function 



Step 4 When the transmission end the reception of data is being carried out 

correctly, the receiver TR — 626 will display the following ; 







Edc 


r z 



Aflcr completing transferring data, both the transmitter and the 
receiver return to their normal stales. 

^7T»nt1»TT'mg data ii completad in about S leconds. 

When an error occurs, the receiver TR~626 will display the following 
and will stop receiving the data : 



rr 



*To stop the transmission or the recaption of data that has already 
begun, push the Start/Stop Keys of both the transmitter and the 



*lf you would like to transfer data written in Memory Bank 2 or 3, that 
is in a Memory Card, first copy the data to Bank 1 as explained in 
"Copying data between banks" on p. 68. and then carry out the above 
operation. 



93 



Tape SYNC 



6J Tape SYNC 



The TR-626 can be synchronized wilh an MTR {Mulli-irack 
recorder) using Tape SYNC. Certain drum voices can be Iransmiticd 
through the multi-oul jacks. Therefore, by recording drum voices 
added by special sound effects several times on a multi- track 
recorder, you can add effects individually for each drum voice, even 
when you do not have many sound effect devices al your disposal. 



1. Recording a synchronized signal 



Connect the TR~626 to an MTR as beiow. to record both a 
synchronized signal for tape sync on a track of an MTR. 

TR-626|Rear Panel) 



GOO 






LCXV TOW Bun B«SS CKf* 

MTR 



Sli^l/STCP IBC TiH JMI sy« 

Osc "a;' ac, ^ LINE ou^r line in 

— ^1@®_ @ © 



t+ 



] 



A pilot tone is constantly output through the TR-626's Tape SYNC 
Out Jack while it is stopped. Set the MTR recording level of the 
signal so that it is maintained between - 10 to -3 VU. 

Step 1 Adjust Tempo Knob to set the playing tempo. 

*Se1 it to a tempo at or below 180. Synchronized playing cannot be done 
correctly at any setting above this limit. 

Step 2 Start the MTR recording. Several seconds later, push the Start/Stop 

Key of the TR-626 to begin playing. 

Step 3 When this finishes, push the Start/Stop Key again, then stop the 

MTR.The MTR has now recorded The synchronized signal. 



94 



Tape SYNC 



2. Piaying with a synchronized signal 



Synchronize the TR-626 with a lapc-rccordcd synchronized signai lo 
have il slarl playing. 

Conned the TR~626 to the MTR as below' : 




CKIP°0 



XSJSB 



•HrJafl 



iri^lTiririTirrTl 



IN 'IN 



MTR 



LINE OUT 



TAPE 
SYNC IN , 



L R(MONO) 

TR-626 



Rewind the tape onto which the synchronized signal was recorded. 
Find the part of the tape where a pilot lone is heard before the 
modulated tone begins. This is the place from which lo begin. 



Step 1 



Set the TR-6Z6 on Tape SYNC mode, (See p. 87.) 







MODE 


Snc 


tP 


TRACK PL*r 

EXT SVNC 



Step 2 



Start the MTR playing. 



95 



Tape SYNC 



Step 3 Push the Start/Stop Key. 



*ThB tape will start to play synchronized correctly if a pilot tone ii still 
heerd before e moduleted lone begins. 

*!f the tapes -still do not synchronize properly, adjust the MTR's 
synchronized signal's output level and try again. If it still does not work, 
changethe recording level end start over egain from the beginning at 
step 1 in 'l. Recording a synchronized signal.'* 



96 



Before catling the Repaires 



Symptom 



Possible cause 



Drum Voice 



I No sound is heard. 



I Tone of the sound is slrangc. 



# Level and pitch cannot be adjusted. 



OThe level of the drum voice is set to 0. 
OThe overall volume is set to the minimum. 

OThe pitch of the drum voice is not set properly. 
OThe drum voice you want is not assigned to the Main 
key. 

OThe Protect Switch is set to ON in Memory Bnnks 2 
or 3. 



Writing 



• Writing The unil cannot enter 
the writing mode. 

• A rhythm pattern cannot be written. 



OThe Protect Switch is set to ON in Memory B.inks 2 
or 3. 

OThe unit is set to the Manual Play mode. 
OThe unit is set to the Level/Pitch mode. 
OThe unit is set to the accent writing mode of the Step 
writing mode. 



• The drum voice you hnvc written 
is erased. 



OYou have written the drum voices of the same group 
in one step. 



• Shuffle cannot be obtained. 

• Flam cannot be written. 



OThe scale is set to the triplet or its muitipc. 

OThe drum voice other than SDl/2/3. LTl/2. MTi/' 
2 or HTl/2 is selected. (Flnm can be written oni\- in 
these drum voices.) 



• Flam cannot be set. 



OThe fiam interval is set to 0. 



Tape Memory 



• Verification and loading cannot 
be done. 



O Connections are not made properly. 

OThe output level of the tape recorder is not 

appropriate. 
OYou have used different tape recorders for saving arul 

loading. 
OThe recording level during saving was not approprialc. 
OThe tape used is damaged. 



97 



Tspe Sync 



• Tape sync cannot be performed. 



OConncctions are not made properly. 

OThe output level of the tape recorder is not 

appropriate. 
OThe recording level for sync signals is not appropriate. 
OTAPE SYNC mode is not selected. 
OYou have failed to push the Start key. 



Memory Card 



• You cannot change the Memory Banks. OThe memory card is not inserted properly. 

• Data cannot be copied onto a OThe Protect Switch on the memory card is set to ON. 
memoy card. 



MIDI 



• The unit cannot receive MIDI messages. 



• The unit receives even the messages 
other than the receive channel. 

• Sync cannot be performed. 

• Song Select and Song Position Pointer 
cannot be received. 

• Exclusive messages cannot be rccci\xd. 



Others 



• The unit is automatically changed 
from Ihe Writing to Playing mode. 

• Rhythm does not start pla\'ing by 
pushing the Start key. 



OConncctions arc not made properly. 

OThe OMNI OFF mode selected and the MIDI receive 
channel of the unit is not set to the same number of 
Ihc transmit channel of the external unit. 

OKcy numbers of the unit do not match those of the 
external unit. 

OOMNl ON is selected. 



OMIDI SYNC mode is not selected. 
OMID! SYNC mode is not selected. 



CYou have performed transmission procedure prior to 

reception. 
OThe basic channels of the transmitter and receiver are 

not set to the same one. 



OMcmory card's Protect Switch is set to ON in Memory 
Banks 2 and 3. 



OThe track is empty. 

OEXT S'^'NC mode is selected, 



• Track data is rewritten automatically. OYou have turn off the unit in the Track Wrilc mode, 

OYou hn\e set the memory card's Prolect Switch ON 
or tlisconnccl the memory card with Mcmor\- Banks 
2 aiul 3 set to Track Write mode. 



98 



■ PRESET RHYTHM 

[Pattern Group A] 



1 


2 


3 


4 


5 


6 


7 


8 


Rock 
SBeat 1 


Rock 
SBeat 2 


Rock 
SBeat 3 


Rock 
SBeat 4 


Rock 
16Beat 1 


Rock 
1 GBeat 2 


Disco 1 


Disco 2 


9 


10 


11 


12 


13 


14 


15 


16 


Slow 
Rock 


Shuffle 


Funky 1 


Funky 2 


Rock 
Fill-in 1 


Rock 
FlIMn 2 


Triplet 
Fill-in 


Rock 
Fill-in 3 



[Pattern Group B] 



1 


2 


3 


4 


5 


6 


7 


S 


Swing 1 
9 


Swing 2 


Bossanova 
1 

11 


Bossanova 
2 


Mambo 


Merengue 


Rhumba 


Beguine 


10 


12 


13 


14 


15 


16 


Samba 1 


Samba 2 


Tango 


Marching 


Swing 
Fill- in 


Latin 
FiiMn 


Latin 
Break 


Samba 
Fill-in 



[Pattern Group C] 



1 


2 


3 


4 


5 


6 


7 


8 


Oldies 1 


Oldies 2 


Oldies 
R & B 

11 


Reggae 1 


Reggae 2 


Rap 


Hip Hop 


Electric 
Funk 


9 


10 


12 


13 


14 


15 


16 


Metal 1 


Metai 2 


Rock Vari 
1 


Rock Vari 
2 


Reggae 
Fill-in 


Electric 
Fill-in 


Metal 
Fill-in 


Count 
Click 



99 



■ PROGRAM RHYTHM 

[Pattern Group D] 



1 


2 


3 


4 


5 


6 


7 


8 


















9 


10 


11 


12 


13 


14 


15 


16 



















[Pattern Group E] 



1 


2 


3 


4 


5 


6 


7 


8 




10 


11 












9 


12 


13 


14 


15 


16 



















[Pattern Group F] 



1 


2 


3 


4 


5 


6 


7 


8 


















9 


10 


11 


12 


13 


14 


15 


16 



















TOO 



PATTERN NOTE 



BANK : 

PATTERN GROUP : 

PATTERN NUMBER : 

SCALE : LAST STEP : SHUFFLE : FLftM : 

STEP 1 2 3 4 5 6 7 8 9 10 n 12 13 14 15 16 

(INSTRUMENT) 



BANK : 

PATTERN GROUP : 

PATTERN NUMBER : 

SCALE : LAST STEP : 

STEP 1 2 3 4 5 6 

(INSTRUMENT) 



SHUFFLE : FW^M : 

7 8 9 10 11 12 13 14 15 15 



101 



BANK : 

PATTERN GROUP : 

PATTERN NUMBER : 

SCALE : LAST STEP : 

STEP 1 2 3 4 5 6 

{INSTRUMENT} 



SHUFFLE : FLAM : 

7 8 9 10 n 12 13 14 15 16 



BANK : 

PATTERN GROUP : 

PATTERN NUMBER : 

SCALE : LAST STEP : 

STEP 12 3 4 5 

(INSTRUMENT) 



SHUFFLE : FLAM : 

7 8 9 10 n 12 13 14 15 16 



102 



■TRACK NOTE 

BANK : TRACK : 



TITLE 



measure: 1 


MEASURE 2 


MEASURE 3 


MEASURE i 


MEASURE 5 


MEASURE 6 


MEASURE 7 


MEASURE B 


MEASURE 5 


Mi AS. RE '3 






















MEASURE n 


MEASURE 12 


MEASURE !3 


MEASURE la 


MEASURE 15 


MEASURE 16 


MEASURE n 


MEASURE 18 


MEASURE '9 


!.:m.=i 20 






















MEASUflE 21 


MEASURE 22 


MEASURE 23 


MEASURE 2a 


MEASURE 25 


MEASURE 25 


MEASURE 27 


MEASURE 2B 


MEASURE 2? 


■.■i-S.=i ." 






















MEASURE 3! 


MEASURE 32 


MEASURE 33 


MEASURE 3a 


MEASURE 35 


MEASURE 36 


MEASURE 37 


MEASURE 38 


MEASURE 39 
























MEASURE ai 


MEASURE -12 


MEASURE 43 


MEASURE " 


MEASURE 4b 


MEASURE 46 


MEASURE 47 


MEASURE 48 


MEASURE 49 


MEAs..^; =: 






















MEASURE 51 


MEASURE 52 


MEASURE 53 


MEASURE 54 


MEASURE 55 


MEASURE 56 


MEASURE 57 


MEASURE 58 


MEASURE 59 


MEASv=i 63 






















MEASURE 61 


MEASURE 62 


MEASURE 63 


MEASURE bt 


MEASURE 65 


MEASURE 56 


MEASURE 67 


MEASURE 68 


MEASo=;E 59 


i.'E"S.'RE :: 






















MEASURE 7i 


MEASURE 72 


MEASURE 73 


MEASURE 74 


MEASURE 76 


MEASURE 76 


MEASURE 77 


MEASURE 78 


MEASURE 75 


','EASJRE iO 






















MEASURE 81 


MEASURE 82 


MEASURE 83 


MEASURE ea 


MEASURE 85 


MEASURE 86 


MEASURE 87 


MEASURE 88 


MEASURE 89 


?.'EAS-,fl:. 90 






















MEASURE 91 


MEASURE 92 


MEASURE 93 


MEASURE 94 


MEASURE 95 


MEASURE 96 


MEASURE 97 


MEASURE 96 


MEASURE 99 


'..'lAsjm ■:-o 






















MEASURE lOi 


MEASURE 102 


MEASURE 103 


MEASURE 104 


MEASURE 105 


MEASURE 106 


MEASURE 'C7 


MEASURE -08 


MlASuRE 105 


'.'iii:-^i ••■0 






















MEASURE 111 


MEASURE 1)2 


MEASURE 113 


MEASURE 114 


MEASURE '15 


MEASURE 116 


MEASURE M7 


MEASURE M8 


MEaSjRE !■? 


■/!:ASi.iE- :;o 






















MEASURE 1^1 


MEASURE 122 


MEASURE 123 


MEASURE 124 


MEASURE 125 


MEASURE 126 


MEASURE 12' 


MEASURE 128 


MEASURE 129 


vusoi^x -3; 






















MEASURE 131 


MEASURE 132 


MEASURE 133 


MEASURE 134 


MEASURE 135 


MEASURE 136 


MEASURE 137 


MEASURE 13s 


MEASURE '39 


MEASv=E "AO 






















MEASURE lai 


MEASURE M2 


MEASURE M3 


MEASURE 144 


MEASURE 145 


MEASURE 146 


MEASURE 147 


MEASURE ia8 


MEASURE 149 


MEASuRl -50 






















MEASURE '51 


MEASURE '52 


MEASURE 153 


MEASURE 1 54 


MEASURE 155 


MEASURE 156 


MEASURE 157 


MEASURE 158 


MEASURE 159 


MEASURE '6C' 






















MEASURE 151 


MEASURE 16? 


MEASURE 163 


MEASURE 164 


MEASURE 165 


MEASURE 166 


MEASURE 167 


MEASURE 168 


MEASURE 169 


MEA5-.=; ■": 






















MEASURE 171 


MEASURE n? 


MEASURE 173 


MEASURE ■ 74 


MEASURE 175 


MEASURE '76 


MEASURE 177 


MEASURE '78 


MEASuRt -'i 
























MEASURE 181 


MEASURE 162 


MEASURE 183 


MEASURE 184 


MEASURE 1B5 


MEASURE 186 


MEASURE '87 


MEASURE laa 


•M^S-^-P.l 139 


MEAbji:: •--: 






















MEASURE 19! 


MEASURE 192 


MEASURE 193 


MEASURE 194 


MEASURE '95 


MEASURE '96 


MEASURE '9" 


MEASu-E -58 


VE^S. -L ■?= 


v:A;,=r :■-.: 























BANK : TRACK : TITLE : 



MEASURE 


MEASURE D< 


MEASURE O: 


MEASURE 04 


MEASURE 05 


MEASURE OS 


MEASURE 07 


MEASURE 08 


MEASURE 05 


'■■EAS.sRE -D 






















MEASURE M 


MEASURE 'J 


MEASJRE 13 


MEASURE 14 


MEASURE '5 


MEASURE 16 


MEASURE ■" 


MEASURE le 


MEASURE ■= 


meas^.r; :: 






















•-'EiSUfiE ?1 


MEASURE 22 


MEASURE 23 


MEASlJHE 24 


MEASURE n 


■••EASJRE 26 


MEASURE 2" 


VEASuRE ?S 


VEAS-'RE 2= 


•■■i-i.'^.i y. 






















MEASURE 31 


MEASURE 3? 


MEASURE 33 


MEASUSE 34 


•-'EASUPE 36 


MEASURE 36 


MEASURE 3" 


MEASURE 3g 


VEASURE 39 


•M^s^^L 4: 






















MEASURE Ai 


MEASURE 4? 


MEASURE 43 


MEASURE 4i 


MEASURE 45 


MEASURE 4b 


MEASURE 47 


MEASURE 48 


VEASjRi 49 


MEASURE j: 






















MEASURE SI 


MEASURE 5? 


MEASURE 53 


MEASURE 54 


MEASURE 55 


MEASURE 56 


MEASURE 57 


MEASURE 5B 


MEASURE 59 


MEaSjR: cD 






















MEASURE 61 


MEASURE 62 


MEASURE 63 


MEASURE 64 


MEASURE 65 


MEASURE 66 


MEASURE 67 


MEASURE 68 


MEASJRE 69 


MEASURE ■': 






















MEASURE 71 


MEASURE 12 


MEASURE ?3 


MEASURE 74 


MEASl/RE 75 


MEASURE 76 


MEASURE 77 


MEASURE ■'S 


MEASURE 7= 


VEiSL'^L s: 






















MEASURE ei 


MEASURE a? 


MEASURE 63 


MEASURE 8- 


MEASURE 85 


MEASURE 86 


MEASURE 87 


MEASURE 8=(vriSuRL 89 


.'.■EASi'RE 9C 






















MEASURE 91 


MEASURE 9? 


MEASURE 93 


MEASJRE 94 


VEASURE 95 


MEASURE 96 


MEASUPl 97 


VEASURE 9S 


MEASURE 99 


MEASURE OG 






















MEASURE 01 


MEASURE 0? 


MEASURE 03 


MEASURE 04 


MEASURE Q5 


MEASURE 06 


MEASURE C 


MEASURE D8 


MEASURE 09 


VEASURE 10 






















MEASURE n 


MEASURE 1? 


MEASURE 13 


MEASURE 14 


MEASURE 15 


MEASURE 16 


MEASURE 17 


MEASURE 18 


MEASURE 19 


MEiS-^RE 2C 






















MEASURE 2'- 


MEASURE 3? 


MEASURE 23 


MEASURE 24 


MEASURE 25 


MEASURE 26 


MEASURE 27 


MEASURE 28 


MEASURE 29 


MEASURE 30 






















MEASURE 31 


MEASURE 3? 


MEASURE 33 


MEASURE 34 


MEASURE 35 


MEASURE 36 


MEASURE 37 


MEASURE 38 


MEASURE 39 


MEASURE 40 






















MEASURE *1 


MEASURE &2 


MEASURE i3 


MEASURE 44 


MEASURE 45 


MEASURE 46 


MEASURE 47 


MEASURE 4B 


MEASURE 49 


MEASURE 5u 






















MEASURE 51 


MEASURE 52 


MEASURE 53 


MEASURE 54 


MEASURE 55 


MEASURE 56 


MEASURE 57 


MEASURE 58 


MEASURE 59 


MEASURE 6C 






















MEASURE 61 


MEASURE 6? 


MEASURE 63 


MEASURE 64 


MEASURE 65 


MEASURE 66 


MEASURE 67 


MEASURE 68 


MEASURE 69 


MEASURE 70 






















MEASURE 71 


MEASURE n 


MEASURE 73 


MEASURE 74 


MEASURE 75 


MEASURE 76 


MEASURE 77 


MEASURE 78 


MEASURE 75 


MEASURE 8C 






















MEASURE BI 


MEASURE 82 


MEASURE 83 


MEASURE 84 


MEASURE 85 


MEASURE 86 


MEASURE 87 


MEASURE 88 


MEASURE 89 


MEASURE 90 






















MEASURE 91 


MEASURE 92 


MEASURE 93 


MEASURE 94 


MEASURE 95 


MEASURE 96 


MEASURE 97 


MEASURE 98 


MEASURE 99 


MEASURE 03 























specifications 



TR-626 : RHYTHM COMPOSER 

• Preist Rhythm Patterns 
4H Patterns 

(16 Patterns in each of A. B and C Groups) 

• UsBrs ProgrBmrnablfl Rhythm Patterns 
48 Patterns 

(16 Pauerns in each of D. E and F Groups) 
[48 Patterns in each of 3 Banks : Memory Card 
M-128D used] 

• Tempo 

40 Id 240 beats per minute 

• Track 

6 Tracks (Max, 999 bars tota!) 
[6 Tracks in each of 3 Banks : Memory Card 
M-iaSD used] 

• Steps (in B bar) 
1 to 16 Steps 

• Accent 

■-3 to +3 (7 levels) in each drum voice 

• Pitch 

— 7 to +7 (15 pitches) in each drum voice 

• Level 

to +5 (6 levels) in each drum voice 



) Control & Indicator 





Shift function 


Start/Stop key 


Continue Start key 


instrument change key 


Tempo/measure key 


Down key 


Shuffie/flam key 


Up key 


Manual play key 


Level key 


Pitch key 



Pattern mode 


Track mode 


Pattern clear key 


Track clear key 


Scale key 


Measure back key 


Last step key 


Measure forward key 


instrument/metronome 


Last measure key 


key 




Pattern group key 


Track number key 


A / D 


1 /4 


B / E 


2/5 


C / F 


3/6 



Main key (1 to 16) 
Shift key 
Mode key 

Enter key/Accent key 
Tempo knob 
Volume knob 
Tempo indicator 
Display 



# Drum Voices (8 voice groups, total of 30 voices) 
BASS DRUM 1/BASS DRUM 2. 
SNARE DRUM 1/SNARE DRUM 2 
/LOW TIMBALE/Hl TIMBALE. 
LOW TOM 1/L0\V TOM 2/MID TOM J 
/MID TOM 2/H! TOM 1/Hl TOM 2 
/OPEN Hi CONGA/LOW CONGA. 
OPEN HI- HAT/CLOSED HI -HAT. 
CRASH CYMBAL/RiDE CYMBAL 
/CHINA CYMBAL/CUP. 
RIM SHOT/SNARE DRUM 3. 
HAND CLAP/CLAVES/MUTE HI CONGA 
/SHAKER, 

COWBELL/TAMBOURINE/LOW AGOGO 
/Hi AGOGO. 

*Drum voices belonging to the same voice group 
do not sound simultaneously. 



105 



)RB«r Pansl 




Mono/Siereo Out Jack 


(R) 


Stereo Out Jack (L) 




Headphone Jack 




Multi Out Jack 




[Display] 


[Output Voice] 


BASS DRUM 


BASS DRUM 1,2 


SNARE 


SNARE DRUM 1.2.3 




/RIM SHOT 


LOW TOM 


LOW TOM U 


MID TOM 


MID TOM 1,2 


HI TOM 


HI TOM 1.2 


HI-HAT 


CLOSED HI -HAT 




/OPEN HI- HAT 


CRASH 


CRASH CYMBAL 




/CHINA CYMBAL 


RIDE 


RIDE CYMBAL/CUP 



Start/Stop Jack (DP -2) 
Trigger Oul Jack (RIM SHOT) 
Tape In/Out Jack 
Tape Sync in jack 
Tape Sync Oul Jack 
MIDI IN Connector 
MIDI OUT Connector 
Memory Card Slot 
Power Switch 

AC Adaptor Jack C9V) : Use PSA series AC Adaptor 
only 

• Consumption : 50mA 

• Dimensions: 400 (W) X IQ-l (D) X55 (H) mm 

I5-3/4-x7-5/8''X2-3/l6" 

• Weight: I^g/2lb I4oz (including the battery) 

• Accessories 

Dry-cell batteries fUM-3x6) 
Connection Cable (11-250) 
Owner's Manual 
Preset Rhythm Score 
Preset Rhythm Seals 
Operation Chart 
Booklet "MIDI" 

• Options 

AC Adaptor (BOSS PSA series) 
Peda! Switch (DP-2. BOSS FS-5U) 
Memory Card CM-128D) 



106 



Roland Exclusive Messages 



Data Format for Exclusive Messages 



Roland's MIDI impipmeniation uses the (ollQwing data formal 
li:r all oxi;lusive messa«cs (lypo IV) ; 



a One- way transfer procedure (See Sections for details.) 

This procedure is suited tor the transfer of a small amount of 
data, l! sends out an exclusive message cumpletely independcni 
of a rcctiving titvicE status. 



Bvte 


Description 


FOH 


Exclusive status 


41H 


ManuiBctures ID Cfloland) 


D£V 


Device ID 


MDL 


Model ID 


CWD 


Command (D 


[BODY] 


Maindata 


F7H 


End Df exclusive 



Connection Diagram 



Device (A) 



Device (B) 



u\ai OUT 



urot OUT 



Conneclional poinl2 is essenliai for 
(Sec SGCtion3.) 



"Request data" procedures. 



# Handshake- 



# MID) status : FOH. F7H 

An (JKciusive message must be flanlced by a pair of Status 
codes. slarliriR with a Manufaclurc.';-!D immediaieSj- after FOH 
(MlDi vorsionl.U), 

# Manufactures- ID ; 41 H 

The Manufactures-ID identifies the manufacturer of a MIDI 
inBtrumcnt that triKt'eres an exclusive message. Value ^IH 
represents Roland's Manufactures -ID. 



# Device- ID : 



Model- ID 



DEV 

The Device-iD contains a unique value that identifies the 
individual device in the multiple implementation of MIDI 
instruments. It is usually set to OOH - OFH, a value smaller 
by one than that of a basic cliannel, but value OOH - IFH 
may be used for a device with multiple basic channels. 

MDL 

The Model-ID contains a value that uniquely identifies one 
modef from another. Different models, however, may share an 
identical Model- ID if ihey handle similar data. 

The Model-ID format may contain OOH in one or more places 
to provide an extended data field. The following are examples 
of valid Model-IDs, each representtna a unique model: 

01 H 

02H 

0311 

OQli, OIH 

OQII, 02H 

OOH, OOH, OIH 



^ Command- !D ; CMD 

The Command — ID indicates the function of an exclusive 
message. The Command-ID format may contain OOH in one 
or more plates In provide an extended data field. The 
following are examples of valid Command -IDs , each 
representing a unique function ; 

OIH 
02H 
03 H 

oon, OIH 

DOH, 02H 
OOH, OOH. OHi 

# Main data : BODY 

This field contains a messaRe lo be exchanged across an 
interface. The exact data size and contents will vary with the 
Model-iD and Command-ID. 



Address- mapped Data Transfer 



Address mapping- is a technique for transferring messages 
conforming to the data format given in Section !. It assigns 
a series of memory -resident records — waveform and tone 

data, switch status, and parameters, for example lo specific 

locations in a machine- dependent address space, thereby 
allowing access to data residing at the address a message 
specifies. 

Address -mapped data transfer is therefore independent of 

models and data categories. This technique allows use of two 

different transfer procedures : one-way transfer and 
handshake transior. 



transfer procedure (See Section* for details.) 

This procedure initiates a predetermined transfer sequence 
(handshaking) across the interface before data transfer takes 
place. Handshaking ensures that reliability and transfer speed 
are high enough to handle 3 large amount of data. 

Connection Diagram 



Device (A) 






Device (B> 


WIDI OUT 
UJOl IK 


. 


MIDI m 

Uei QSIT 




*i 


7 



Conneciionat potnisl and 2 is essential. 

Notes on the above two procedures 

*There are separate Command -IDs fur different transfer 

prfKBdures, 
^DevicesA and B cannot exchange data unless they use the 

same transfer procedure, share identical Device-ID and Model 

tD, and are ready for communication. 



ilOne- v/ay Transfer Procedure 



This procedure sends out data alt the way until it stops when 

the messages arc so short that answerbacks need not be 

checked. 

For long messages, however, the rei:eiving device must acquire 

each message in lime with the transfer sequence, which inserts 

intervals of at least 20mi!liseconds in tietween. 



Types of Messages 



Message 


Command ID 


ReQues! data 1 
Data set 1 


R01 (MH) 
DTI (12H) 



Request data # 1 : RQ1 (11H) 

This message is sent out when there is a need to acquire data 
from a device at the other end of the interface. It contains data 
for the address and size thai specily designation and length, 
respectively, of data required. 

On receiving an RQI message, the remote device checks its 
memory for the data address and size thai satisfy the request. 

If it finds them and is ready fur communication, the device will 
transmit a "Data set 1 [UT])" mes.sage, which contains the 
requested data. Otherwise, the device will send out nothing. 



Byte 


Descrjptson 


FOH 


Exclusive status 




41H 


Manufactures !D (Roland) 




DEV 


Device ID 




MDL 


Model ID 




!1H 


Comrriarid 10 




aaH 


Address MSB 
LSB 




E^H 


Size MSB 
LSB 




sum 


Checl; sum 




F7H 


End of exclusive 





108 



Data set 1 



*Tlic size of the requesled daia eines not indicate the number 
of bytes that will make up a DTI message, bul represents 
the address fields where Ihe requesled data resides. 

*Snfiie mndels are subject Id limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

*The same number of bytes comprises address and si/e data, 
which, however, vary with the Model — ID, 

*The error checking process uses a checksum thai provides 
a bit pattern where the least sigmTicant 7 bits are zero when 
values tor an address, size, and thai checksum are sdmraed, 

DTI (12H) 
This message corresponds to the actual data transfer process. 
Because every byte in the data Is assigned a unique address, 
a DT! message can convey the starting address of one or 
more data as well as a series of data formatted in an address 
~ dependent order. 

The MIDI standards inhibit non-real time messages from 
interrupting an exclusive one. This fact is inconvenient for the 
devices that support a "soft -through" mechanism. To maintain 
compatibility with such devices, Roland has limited the DTI to 
256 bytes so that an excessively long message is sent out in 
separate segments. 



Device (A) 



Device CB> 



Byte 


Description 


FOH 


Exclusive 


41H 


Manufactures ID CRotand) 


DEV 


Device ID 


MOL 


Model ID 


12H 


Command ID 


aaH 


Address MSB 




LSB 


ddH 


Da 


a 


surri 


Ch 


'ck sum 


F7H 


End of exclusive 



*A DTi message is capable of providing only the valid data 
among those specified by an RQl message. 

*Some models are subject to limitations in data formal used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before il is exchanged across the interface. 

*The number of bytes comprising address data varies from 
one Model -ID to another. 

*The error checking process uses a checksum thai provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 



Example of Message Transactions 

• Device A sending data lo Device D 
Transfer of a DTI message is all that lakes place. 



Devtce (A) 



Device (B) 



[Data set 1] ^- 

*Mcire than 20m sec lime internal. 

[Data set !] »- 



{Data set !] 



[Data set I] 



3uest data] 



*More than 20m sec time internaL 
[Daia set 1] ■ ^- 



[Data set 1] 



Handshake- Transfer Procedure 



Handshaking is an interactive process where two devices 
exchange error checking signals be/ore a message transaction 
takes place, thereby int^reasing data reliability. Unlike one— way 
transfer that inserts a pause between message transactions, 
handshake transfer allows much speedier transactions because 
data transfer starts once the receiving device returns a ready 
signal. 

When it comes to handling large amounts of data — sampler 
waveforms and syntfiesijer tones over the entire range, for 

example across a MIDI interface, handshaking transfer is 

more efficient than one-way transfer. 



Types of Messages 



Message 


Command ID 


Want to send data 


WSD (40H) 


Request data 


RQD (41 H> 


Data set 


DAT C42H) 


Acknowledge 


ACK (43 H) 


End of data 


EOD (4SH) 


Communication error 


ERR (4EH) 


Rejection 


RJC (4FH) 



Want to send data ; WSD (40H) 

""■ This message is sent out when data must be sent to a device 

al the other end of the interface. U contains data for the 
address and si2e that specify designalion and length, 
respectively, of the data to be sent. 

On receiving a WSD message, the remote device checks its 
memory for the specified data address and size which will 
satisfy the request. If It finds them and is ready for 
communication . the device will return an " Acknowledge 
(ACK)" message. 
Otherwise, It will return a "Rejection (RJC)" message. 



[Data set Ij 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufactures ID (Roland) 


DEV 


Device !D 


WDL 


Model ID 


40H 


Command ID 


aaH 


Address MSB 




LSB 


ssH 


Size MSB 




LSB 


sum 


Check sum 


F7H 


End of exclusive 



• Device B requesting data from Device A 
Device B sends an RQl message to Device A. Checking the 
message. Device A sends a DTI message back to Device D, 



*The size of the data to be sent does not indicate the number 
of bytes that make up a "Data set (DAT)" message, but 
represents the address fields where the data shouid reside. 

*Some models are subject to limitations in data format used 
tor D single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fieids before it is exchanged across the mtcrface. 

*The same number of bytes comprises address and size data, 
which, however, vary wiih the Model-ID. 

*The error checking process uses a checksum thai provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 



inQ 



# Request data 



ROD (41 H) 

This message is seni oul when there is a need lo acquire data 
from a device at the olher end of the interface. Il contains data 
for the address and siie that spedJy dcsijjnalion and lenBlh, 
respeclively, of data rcyuired. 

On receiving an ROD messagE, the remole device checiis its 
memory for the data address and size which satisfy the request. 
If il finds [hem and is ready for communicalion. the device will 
transmit a "Data set (DAT)" message, which contains the 
requested data. Olherwise, it will fcLurn d "Rejeclion (RJC)" 
message. 



Byie 


Descriptian 


FOH 


Exclusive status 


41H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Mode! !D 


4iH 


Command ID 


asH 


Address MSB 




LSB 


ssH 


Siie MSB 




LSS 


sum 


Check sum 


F7H 


End □( exclusive 



*The she of (he requestL-d daia does not indicate the number 
of bytes thai make up a "Data scl (DAT)" message, bul 
represents Ihe address fields where the requested data 
resides. 

*Some models are subject to limitations in data format used 
for a single transaction, Huquested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

*The same number of bytes comprises address and size data, 
which, however, vary with the Model— !D. 

*The error checking process uses a checksum thai provides 
a bil pattern where the least significanl 7 bils are zero when 
values for an address, size, and that checksum are summed, 

# Data set : DAT (42H) 

This message corresponds lo the actual data transfer process. 
Because every byte in the data is assigned a unique address, 
the message can convey the starling address of one or more 
data as well as a series of data formatted in an 
address— dependent order. 

Although the M!D! standards inhibit non-real time messages 
from interrupting an exclusive one, some devices support a 
soft- through " mechanism for such interrupts , To 
mainlaincompalihiiiiy with such devices, Roland has iimiled the 
DAT Id 256bytes so thai an excessively long message is sent 
out in separate segmenis. 



*A DAT message is capable of providing only the valid data 
among those specified by an RQD or WSD message. 

*Some models are subject lo limilalions in data formal used 
/or B single transacliiin. Requested data, lor example, may 
have a limit in length or must bt divided inio predetermined 
address fields before il is exchanged across the interface. 

*The number of byles comprising address data varies from 
one model ID to another. 

*The error checking process uses a checksum that provides 
a bit pattern where Ihe least significant 7 bits are zero when 
values for an address, size, and that checksum arc summed. 



# Acknowledge : ACK (43H) 

This message is seni out when no error was detected on 
reception of a WSD, DAT. "End of data (EOD)", or some other 
message and a requested setup or action is complete. Unless 
it receives an ACK messajic, the device at the other end will 
not proceed to the next operation. 



Byte 


Description 


FOH 


Exclusive status 


4m 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


43H 


Command ID 


F7H 


End of BKClusive 



# End of data -. EOD (45H) 

This message is sent nut to inform a remole device of Ihe end 
of a message. Communication, however, will not come to an 
end unless the remote device reiurns an ACK message even 
though an EOD message was transmiLled, 



Byte 


Description 


FOH 


Exclusive status 


4iH 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


45H 


CcmmEnd ID 


F7H 


End of SKolusive 



Communications error : ERR (4EH) 

This message warns the remote device of a communicatians 
fault encountered during message transmission due, for 
example, to a checksum error. An KRR message may be 
replaced with a "Rejection (RJC)" one, which terminates Ihe 
current message transaction in midstream. 

When il receives an E!!R message, the sending device may 
either attempt Itj send out the last message s second time or 
terminate communication by sending oui an RJC message. 



BVtE 


Description 


FOH 


Exclusive status 


41H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


42 H 


Command ID 


aaH 


Address MSB 




LSB 


ddH 


Data 


sum 


Check sum 


F7H 


End of exclusive 



Byte 


Description 


FOH 


Exclusive status 


4iH 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


4EH 


Command ID 


F7H 


End of exclusive 



no 



# Rejection ; RJC (4FH) 

This message is seni ou[ when ihere is a need lo ierminaie 
communicaiion by Dverriding Ihe current message. An RJC 
messaRC wtii be Iriggered when : 

■ a WSD or ROD message has specified an illeRal daia address 
or size. 

■ ihe device is not ready far communication. 

■ an illegal number of addresses or data has been delecled, 

■ data transfer has been terminaied by an operator. 

■ a comrnunica lions error has occurred. 

An ERI? message may be sent out by a device on either side 
of the interface . Communicaiion musl be terminated 
immediately when either side iriESers an KRR message. 



Byte 


Description 


FOH 


Exolustve status 


4!H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Mode: ID 


4FH 


Ccnimand ID 


F7H 


End of exclusive 



Example of Message Transactions 



► Error occurs while device (A) is receiving data from 
device (B). 

i) Data transfer from nevice (A) to device (B). 



Device (A) 



Device (B) 



■ [Data set] 



-«h- 



[Acknowledge] 

(Error) X 

[Communication error] 

-«- 

sAcknowledgs] 



■ [Data set] 



■ [Data set] 



(the same data 
-*- as above) 



2} Device (B) rejects the data re-transmitied, and 
Quits data transfer. 



Device (Aj 



Device (B) 



[AciinowledgEj 

(Error) x -^g — 

[Communication error]- 
(Quit) -«— 



[Data set] 



[Data set} 



[Rejection] 



©Data transfer from device (A) to device (3), 



Device (A) 



[Want to send data] 
[Data set] 



->«- 



[Data set] 



[End of data] 



Device (B) 



[Ad^nowiedgej 



[Acknowledge] 



[Acknowledge] 



[Acknowledge] 



3) Device (A) immediately quits data transfer 



Device (A) 



[Acknowledge] 
(Error) x 
[Rejection] 



Device (B) 



[Data set] 



[Data set] 

-*^ (Quit) 



I Device (A) reauests and receives data from device (8). 



Device (A) 



[Reouest data] 



[Acknowledge] 



[Acknowledge] 



[Admowiedge] 



Device (B) 



[Data set] 



[Data set] 



[End of data] 



in 



MODEL 1K~626 



mtui impsementation 



Version : 1.00 



1 TRANSMITTED DATA i 



Note event 






Note oif 






Slaius 


Seconcl 


Th^rd 


ynii 


kkli 


Oi)H 



n = '!'ransmil chDtinci : Oi-i-ri! (1-lfi) 
kk"-Nnie nunibor : !HH~fiaH (2i)-9H) 



Noie on 



S131US 



Second 
kkH 



Third 

vvH 



kk = Nii[i; number: !9H~63H f25-99) 
w-VL'i(K:iiy ; 12H-7FH (!fi-127) 

Duiermined by Accon( valtie : -3 Id 1 3 

Transmit channel for each voice can be set in any til ! (o Hi by 
panel (iptTBlion. NoU' number of each voice can be assignciJ ii> unc 
of 25 11) 99, 'I'he above sciLinRS can be made by pane) operaiion and 
are non-vi)lati]e. The acceni value (—3 toH-3) wriilori in a paiicTn 
delornifncs ihe nnle veiocity, overridjne Ihe vciiume iuvel sfi 
inlcrnally. 



Acceni 


Velocily 


-;■! 


i21i 


— 2 


1911 


-1 


23H 


Ei 


:-iOH 


+ 1 


-121-1 


j-2 


5BH 


4-.T 


7ril 



B System exclusive 

Status 

POH ; Sysicm E>;cliisive 

F7H ;EOX (End of E:<clusivG) 

Refer 10 3. 1-XCLUSiVE COMMUNICATIONS. 
fB System common 
Song Position Pointer 



S lslus 

l''2H 



Second 



Third 
hhl! 



Il = Leasl siRnificani : (]0!!-7Fn {(1-327) 
hh = MiKl signiTicani : 00H-7Fi! (0-127) 

Sent whenever MEASURE FORWARD or MEASURE BACK is pressed, 
or a measure numberis specified. 



Song Select 

S^ius 

F^ili 



55li 



5s=snns select ■. 001i-051i (0 -5) 

Sent whenever the track is set to new track frnni IhL' panel. One each 
of the track nutiiberK 1 !o fj corresponds Iti Ihc snnj; .u'IccIk i) in 
5 in Ih^il order. 



i System real time 
Timing Clock 



Status 

Fun 



Sent L-ven if the rhythm j,s niif riinninj,'. 



Start 



Sia;ii5 

FM! 



Sent iipon pressinK ,STAli,''J" fi^r p[ayinK, 



Cominue 



Status 

nil! 



Sern upiin n;f-;.;mji Cn\TJ\L'i: ST,.\|.rr in: rv ninnin,!- thi- Hivijiin, 



Stop 



Stsms 

FCii 



Sent whenever Ihe rhythm is stopped. 

When Sync niDtJe is set at MIDI, Ihe 'rii-626 sends (soflwaie 
thriiuBb) the real lime mes.';aEes received from MIDI IN. 



2, RECOGNIZED RECEIVE DATA 



M Channel mode message 
OMNI OFF 



StElUS 


Second 


Third 




iibi! 


7C1-I 


(inii 




OMN! ON 








Siaiui 


Second 


Third 




Bbli 


7DI] 


noil 




b^ 


-Bn.'iic channel 


l)li-FH {1- 


16) 


Note event 








Note on 








Status 

fJhll 


Second 
kkll 


Third 

vvH 





b=---liasic clianni'l : Oil - Fi-i (i-lGJ 
kk^'Nntc number: 1911-53]! (25-99) 
vv^Vokicity ; 0t][-7FH (1-127) 

The basic channel (receive channel) can be changed to 1-lii by 
panel nperaiinn. The Basic channel is non- voiatile.AssiRnment uf a 
Note number isi a voice is common to MIDI IN and MIDI OUT. 
AssifiniTieni can be independent nf Ihe remaining voices, A MIDI 1^' 
pole number will snund Ihe voice In which it is assigned. The 
associated Velocity determines the volume of Ihe voite, defcatinj; Ihe 
inlcrnal level setiinK, 



i System exclusive 

St Bill 5 

FOH : System Exclusive 

F7H : EOX (End of Rxckiaive) 



liefer la 3. EXCLUSIVE COMMUNICATIONS, 



i System common 



RecoRnized only when the 'I'R -GlCi is in 'STOP' status in Ihe Track 

Flay mode. 



Song Position Pointer 

Status Second 



F2i] 



IIH 



Third 

hhH 



l! = l,eu£t sifinlficant : (lQn-7FH (0-127) 
hh = Mo,?l ,'iiKnificanl : 0(11|-7FII (0-127) 



Song Select 

Status 

F.HH 



Second 



KS = soii>; selecl :0On-[iSll (11-5) 
Ori!l-7F]l ignored 

One each of track numbers 1 to G corresponds to the son); selects 
to 5 in that order, re;;ardlcss of memory bank being currently 
selecied (internal or external memory card), 

KSystem real time 

kecriHnt?,cd only when the Sync mndc is set at MIDI. 
Timing Clock 
EtaiuE 



1-fill 



When Sync mode i,'^ set al MIDI, the TR (12(i keeps rhythm tJmiii!; 
[ri this flock. 



12 



Stan 



Status 
FAll 



Whiin Syni: mix!c i,s set :ii \'!DI, iKn 'IK' [ll'fi Kiarls running on Ihe 
Star! mi;M;i(!i.\ 



Continue 

Status 
FIJI! 



When Synt niDiio is sci at MH)1, ilit; 'i'R - 620 starts continue play 
upan reccivini! this mi^ssufic. 



Stop 

Status 
FCl! 



When Sync mocte is sci at V.lDl, iht TK-fi2ii stnps upon receipt of 
this mt'ssafii;. 



3, EXCLUSIVE COMMUNICATIONS 



See the TR-62G Owner's Manual lor send ' rocE:ivc pror.otlures ai Ihe exclusive 
messages. 

One way communication 

■ Data set 

When recofiniaed, the foliowin}; mc'ssaKCs arc slnrcii iniernaily. 

Byte Description 

FOH Exclusive status 

A\H iinland-iD 

Obi-! DEVice~[D = Mll)l iiaiic channel 

IDH Mcxlcl-in {TH-(i2(i) 

I2i-1 Command-ID (DTi ) 

aa.'i Address (MSiS) 

bbH Address U-SU) 

ddH Data dd = IH:H-7FH 

ddH Data 

EsH Sum EK^aal! (UWMddil r... ^ddM i-ssli-O 

F7H EOX (linij o! I'vdusivc) 

HAddresE mapping of data 

With the TR~626 tlis ioilowinj; diitii inr memury bank i are available for sen.d,-' 
receiue uf exclusive messages. I'u [tern, track, and the level and pitch of each voice 



Address 



aaH (MSB) bbH (LSBl 



Description 



OnH 20H data start address 

data 
2DH U)!l data end yddrcBs 



MODEL TR-626 



Implementation Chart 



Version : 1.00 



Function... 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 


1-16 
1-16 


1-16 
1-16 


Memorized 
(non — volatile) 


Dclnuit 
Mode Messages 
Allcrcd 


Mode 3 


Mode 1 

OMNI ON/OFF 


Memorized 
(non- volatile) 


Note 
Number 


True Voice 


25-99 ^■•1 

:^ ^~ :^. ^ ^ i^c >{: :^ ^. 


25-99 *1 


assignable to 
each voice 


Note ON 
Velocity ,, , „„ 
Nole OFF 


O 9n v=18-27 
X 9n v = 


O 9b v=1~127 
X 


n = lnst CH *2 
b = Basic CH 


After Key's 
Touch Ch's 


X 
X 


X 
X 




Pitch Bender 


X 


X 




Control 
Change 


X 


X 




Prog 
Change 


True # 


X 


X 




System Exclusive 


o 


O 




System 
Common 


Song Pes 
Song sc! 
Tune 


o 
o 

X 


SYNC = MIDI 
SYNC = MiDI 
X 


0-5 


System 
Real Time 


: Clock 

: Commands 


o 
o 


O SYNC = MIDI 
O SYNC=M1DI 




Aux 
Message 


Local ON/OFF 
All Notes OFF 
Active Sense 
Reset 


X 
X 
X 
X 


X 
X 
X 
X 




Notes 


*1 Can be changed by panel operation. 

*2 Transmit channel number of each voice can be changed to 1 to 16 
by panel operation. 



Mode 1 : OMNI ON, POLY 
Mode 3 : OMNI OFF, POLY 



Mode 2 ; OMNI ON. MONO 
Mode 4 ; OMNI OFF, MONO 



O 
X 



Yes 
No 



7°U-fe'yh-UXA.x=iT 



y<^„>-.^'jp_y A 



1 


2 


3 


4 


5 


6 


7 


8 


n-y^ 
8t'-h 1 


se-h 2 


a-y^ 

Bt'-h 3 


P'y::> 
8t:'-h 4 


P'y::> 


□ -y^ 
16t-h 2 


1 


■T-V:xp 
2 


9 


10 


11 


12 


13 


14 


15 


16 


7.U~-Uv'^ 


v-i'v'7JU 


1 


2 


7-fJU-'f> 1 


□ -y^ 


HJ7V-yh 


7i-JL"-f> 3 



/<^->-:^OP--y B 



1 


2 


3 


4 


5 


6 


7 


8 


1 


2 


1 


2 


"VVTif 


yu>'r" 


Jb>y\^ 


t'4^V 


9 


10 


11 


12 


13 


14 


15 


16 


1 


2 


■9>^ 


V"5^ 


7-fJU--r> 


7'rJU--f> 







^<^_^.>?;^-y'' C 



1 


2 


3 


4 


5 


6 


7 


8 


1 


2 


R & B 


1 


2 


T-y^ 


t77'*77° 




9 


10 


11 


12 


13 


14 


15 


16 


1 


2 


P'yi> 
1 


/\'U3:-y3> 
2 




xU^hiJ7:? 


7-fJU'-f> 


:b7>h 



Pattern Group A 



1 


2 


3 


4 


5 


6 


7 


8 


Rock 
SBeat 1 


Rock 
SBeat 2 


Rock 
SBeat 3 


Rock 
SBeat 4 


Rock 
16Beat 1 


Rock 
1 6Beat 2 


Disco 1 


Disco 2 


9 


10 


11 


12 


13 


14 


15 


16 


Slow 

Rock 


Shuffle 


Funky 1 


Funky 2 


Rock 
Fill-in 1 


Rock 
Fill-In 2 


Triplet 
Fill-in 


Rock 

Fill-in 3 



1 


2 


3 


4 


5 


6 


7 


8 


Swing 1 


Swing 2 


Bossanova 
1 


Bossanova 
2 


Mambo 


Merengue 


Rhumba 


Beguine 


9 


10 


11 


12 


13 


14 


15 


16 


Samba 1 


Samba 2 


Tango 


Marching 


Swing 
Fill- in 


Latin 
Fill-in 


Latin 

Break 


Samba 

Fill-in 



1 


2 


3 


4 


5 


6 


7 


8 


Oldies 1 


Oldies 2 


Oldies 
R & B 


Reggae 1 


Reggae 2 


Rap 


Hip Hop 


Electric 

Funk 


9 


10 


11 


12 


13 


14 


15 


16 


Metal 1 


Metal 2 


Rock Vari 

1 


Rock Vari 
2 


Reggae 
Fill-in 


Electric 

Fill-in 


Metal 
Fill-in 


Count 
Click 



:■ ■ !■ -'— I- ' t . .. h-r Jt 1 



• • 



v.- J J 1-- 



ji^j-Ln n. 



A-2 O v^ ■ 8 t'™ h 2 Rock 8Beat 2 

1 2 3 4 5 6 7 S 9 10 11 12 13 14 15 16 



EDI -i 
SDl - 
CHH H 



SCALE 

LAST STEP 
SHUFFLE 
■A- FLAM 



15 



SDl 
SD1 
CHH 



J I 



i 



,- ■ ^ ' .' - .' -.1 ""■■ '■'.••■. -i : 



tt e e 

« 6 



* 









- *-■ 



jn- n n n 



A- 4 □ -y :? • 8 t'— h 4 Rock 8Beat 4 

I 2 3 4 5 6 7 8 9 10 11 12 13 l-S 15 16 



SD1 
CHH 















































































































I _ 














































































i 


















































































































! 






























i 













































SCALE 
LAST STEP 
SHUFFLE 
I^FLAM 



15 



BDl 
SDl 
CHH 



A- 5 P -y:? • 16t'- h 1 Rock IBBeat 1 



1 2 3 4 5 6 7 e 9 10 il 12 13 14 15 16 



















































^JJ^ 
















" 






























!- 




, ,.. 




::i 




\ 1 1 t [ T 


"T 


T 




T r 



































































































































































































































SCALE 
LAST STEP 
SHUFFLE 
• FLAM 



16 



BDl 



SDl 



CHH 



i i I <u 

JTO ^ ^ OTi 



A-6 n •yi' • let'— h 2 Rock IBBeat 2 



. I . I I I I I ■ ■ • 



ED I -» 



CHH 



I ^ ■ . I 



-•-•- 



-•■-»-©-*-♦-»■ 



I I I " ; 

j ! i l"' 

_u..i...l:JZ: 



SCALE 
LAST STEP 
SHUFfLE 
*-Larvi 



J* 

16 



BDl h^ 



r- ^ n } 



SD; 



CHH 



-J J I i— 

.^B J7^ Jtt^ JttI 



A- 7 x-f :^=3 1 Disco 1 



1 2 3 4 5 6 7 8 S 10 11 12 13 !4 15 16 



































1 


[ 














1 


i 






















1 


I 




























































T 
















































































































































i 












1 














1 



















































SCALE 


^ 


BDl 


LAST STEP 


16 




SHUFFLE 




SDl 


"^FLAM 




CHH 
OHM 



HCP 



A-8. .7=':i''.:x..3 2: ".Disco 2. 



1-2,. 3 4 ID -5 7 g" 9, ID ii"I2 13 14 15^16 



































."■ ■ 




















































































































































































. 













































































































































































SCALE -■■"., /:'/i 
■LASTSTEP ;■■ "i& 
.SHUFFLE - : -^ .■ 

"ift-FLAM ■■ ■: 



BDV 
SDl 



liZzH 



CHH.f-^ 
HCP -.h^ 



.A- 9 , .7, P — -- .q -y ,-:? Slow Rock 



I ..2 .-2 -4 .5.6 :7 a 'S 10 11 lZa3 11 15 16 















































. 






























,'■. 




^^i"'" 




























, 
















- 






"■" 


. 


























.; 






























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